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Sony Pictures Classics has acquired the rights to a new Julia Child documentary from “RBG” directors Julie Cohen and Betsy West.

The doc, tentatively titled “Julia,” will tell the story of the cookbook author and television superstar “who changed the way Americans think about food, television, and even about women,” according to the distributor.

It will draw upon never-before-seen archival footage, personal photos and food cinematography to trace Child’s life journey, from her struggles to publish her revolutionary 1961 book “Mastering the Art of French Cooking” (1961) to how a woman in her 50s found fame as an unlikely TV sensation.

Sony Classics will have worldwide rights to the doc, though domestic television broadcast rights will go to CNN Films.

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The film will be produced by Cohen and West along with with Ron Howard, Brian Grazer and Michael Rosenberg, Amy Entelis and Courtney Sexton for CNN Films; Imagine Documentaries’ Justin Wilkes and Sara Bernstein, and Oren Jacoby of Storyville Films.

“‘Julia’ promises to be a major independent movie event in 2021 — entertaining, revelatory and resonant for today,” Sony Pictures Classics execs said in a statement. “It is great to be in partnership with Imagine, CNN Films, and the formidable directors, Julie Cohen and Betsy West. We expect audiences will embrace ‘Julia’ in a big way.”

“Julia’s story is surprising, empowering, sexy, and downright delicious,” West said, while Cohen added: “To be working on this project with the teams at Sony Pictures Classics, Imagine Documentaries and CNN Films is the crème fraîche on the tarte Tatin!”

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The film is being produced with the full cooperation of Child’s friends and family, as well as the Julia Child Foundation for Gastronomy and the Culinary Arts. It is based on her 2007 book with co-author Alex Prud’homme, “My Life in France,” as well as Prud’homme’s 2017 book “The French Chef in America: Julia Child’s Second Act,” and “Dearie: The Remarkable Life of Julia Child” by Bob Spitz. Spitz and Prud’homme are also executive producers on the film.

HBO Max recently ordered a Julia Child series to pilot, starring Sarah Lancashire as Child and Tom Hollander as her husband, Paul.

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The Cannes Film Festival cannot take place in 2020. In the age of the coronavirus, that would be too dangerous.

The Cannes Film Festival must take place in 2020. It means too much to the world of international cinema to cancel.

Those are the two absolutes that Cannes organizers are now stuck between. On the day it would normally have announced the lineup for this year’s festival — a day in which Wes Anderson’s “The French Dispatch,” Paul Verhoeven’s “Benedetta” and Pete Docter’s “Soul” would almost certainly have been bound for the Croisette — the festival instead put out a statement reiterating what it said four days ago:

“It is clearly difficult to assume that the Festival de Cannes could be held this year in its original form. Nevertheless … the Festival de Cannes, an essential pillar for the film industry, must explore all contingencies allowing to support the year of Cinema by making Cannes 2020 real, in a way or another.”

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And in an interview with Le Figaro that was reprinted on the Cannes website, General Delegate Thierry Fremaux admitted that lots of options were on the table, including “a masked red carpet,” and concluded this way: “Let’s wait until life starts up again and the films shout from the rooftops that they are still a force to be reckoned with: far from the dark predictions that are posted here and there about the death of cinema.”

In one way, festival organizers are obviously stalling for time. The initial idea of rescheduling the festival for late June or early July is no longer an option after French President Emmanuel Macron announced on Monday that festivals could not take place in France “before mid-July at the earliest.” But Fremaux and his staff are continuing to view films that have been submitted, and will do so until the end of June, even though at the moment there are no real plans for how those films could be shown in public.

One thing is clear, though: The festival has no plans to go virtual. It will not go the route of SXSW, which was canceled a week before its mid-March launch but is preparing to have a selection of its films made available on Amazon Prime; or the Tribeca Film Festival, which would have kicked off on Wednesday, and which has now launched a portal on which press and industry viewers can watch a selection of the films scheduled to screen in New York; or even Cannes’ own Marche du Film, the  market that announced it will hold a digital version of its sales program for film professionals over the course of four days in late June.

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But a digital Cannes Film Festival? “No,” Fremaux said flatly. “Cannes is a festival, a gathering, a collective judgement, an influence. Screenings, cheers, whistles and the rest.”

Cannes is also tied closely to the French film exhibition industry, many of whose members sit on its board. That’s why Netflix is barred from competition, and why any alternative that doesn’t showcase film as something you see in a public theater would be an extraordinarily hard sell. “Cannes stands up for films screened in theaters,” Fremaux said. “And the theaters are now at their worst point. We must help them and that will take time.”

But how much time does Cannes have? Once the calendar gets to late August, there could be competition with other major festivals hoping to unspool at (or close to) their usual time: Venice at the end of August, Telluride and then Toronto in early September, New York in late September and early October, the AFI Fest now in October.

(Memo to AFI: You picked the wrong year to move up from your usual November slot. Admit that now and might increase your chance of actually taking place.)

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Those festivals may or may not happen — but if the state of the virus is such that Cannes can be held in the fall, it’s likely that the other festivals will be, too. Dropping the most prestigious international festival in the middle of the other fall festivals could have devastating ripple effects — and even keeping open the possibility of that move could wreak havoc with other festivals’ planning.

So why are Cannes organizers still stalling? Because Cannes is Cannes, the symbol of international cinema. It has always relished its status and it is even prouder now, a year after launching “Parasite,” the first Cannes Palme d’Or winner to go on to win the Best Picture Oscar in 64 years.

In addition to being a big moneymaker for the town, the festival is of symbolic importance for the international film industry — and that may be why Fremaux seems to be considering an option that could retain the festival’s status as the imprimatur of quality cinema without ever showing its films in a theater or in digital form.

Because the festival’s programmers have been viewing films for months, and obviously making some decisions about which ones would be included if the festival took place, Fremaux admitted they may consider a “Cannes 2020” label that could identify films that would have been in the festival if the festival had taken place.

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“This label would allow us to promote the films we’ve seen and to keep track of them in the complex situation of their autumn release,” he said. “We are sent wonderful films from everywhere and it is our duty — and our wish — to help them to exist and to find an audience … We don’t want to abandon the films and those who made them possible. We want to be present in the autumn in order to play our part in the huge construction effort of rebuilding cinema.”

In that case, Cannes wouldn’t exist as a physical festival or a virtual festival at all, but as a label of what might have been — a stamp of quality from an entity that still wants a voice in the conversation.

Or maybe Fremaux & Co. will hold out, find a spot in the calendar and hold a scaled-down festival (with or without that masked red carpet). We don’t know. They don’t know. And even if some form of cancellation seems all but inevitable, they’re not ready to go there yet. Because they’re Cannes.

“This profession, like others, is facing the risk of becoming a wasteland,” Fremaux said. “We must all demonstrate our energy and our unity. The Festival de Cannes wants to play its part in that.”

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The Cannes Film Festival said that rescheduling the festival to late June and early July as originally hoped is no longer possible, and the festival acknowledged in a statement Tuesday that it most likely won’t take place in its original form.

However, the festival is exploring other contingencies and is hoping to make Cannes happen in some form in 2020.

“It is clearly difficult to assume that the Festival de Cannes could be held this year in its original form,” the festival’s statement read. “Nevertheless, since yesterday evening we have started many discussions with professionals, in France and abroad. They agree that the Festival de Cannes, an essential pillar for the film industry, must explore all contingencies allowing to support the year of Cinema by making Cannes 2020 real, in a way or another.”

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The festival was first postponed in March, and the lineup of films playing at the festival was originally meant to be announced this week before the coronavirus canceled and postponed film events across the industry and across the world. The festival has also been consistent about trying to postpone or delay the festival rather than cancel outright, as festivals such as SXSW and Tribeca meant for earlier in the spring have done.

In a Q&A shared by the festival late last month, it was confirmed that festival staff is still working from home and that the deadline to submit films was also extended until at least the end of May.

Cannes has only been canceled once in its history dating back to the end of World War II in 1946, that being in 1968 due to nationwide student riots.

See the latest full statement below:

Following the French President’ statement, on Monday, April 13th, we acknowledged that the postponement of the 73rd International Cannes Film Festival, initially considered for the end of June to the beginning of July, is no longer an option.

It is clearly difficult to assume that the Festival de Cannes could be held this year in its original form.

Nevertheless, since yesterday evening we have started many discussions with professionals, in France and abroad. They agree that the Festival de Cannes, an essential pillar for the film industry, must explore all contingencies allowing to support the year of Cinema by making Cannes 2020 real, in a way or another.

When the health crisis, whose resolution remains the priority of all, passes, we will have to reiterate and prove the importance of cinema and the role that its work, artists, professionals, film theatres and their audiences, play in our lives. This is how the Festival de Cannes, the Marché du Film and the parallel sections (Semaine de la Critique, Quinzaine des Réalisateurs, ACID), intend to contribute. We are committed to it and we would like to thank everyone who is by our side, public officials (Cannes’ City Hall, Ministry of Culture, the CNC), industry members as well as our partners.

Each and everyone knows that many uncertainties are still reigning over the international health situation. We hope to be able to communicate promptly regarding the shapes that this Cannes 2020 will take.

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During the “New Rules” segment of Friday’s episode of “Real Time,” Bill Maher waded into some contentious waters when he argued that it should be perfectly OK to refer to coronavirus as the “Chinese virus.”

Of course, the Trump administration has been trying since March to popularize the term “Chinese virus,” which critics say is racist and has potentially inspired racist attacks on Asian-Americans. But in Maher’s view, the term is useful for understanding where the infection originated and not only that, he argued that China bears some responsibility for its spread.

“Scientists, who are generally pretty liberal, have been naming diseases after the places they came from for a very long time,” Maher said in the segment, delivered like the rest of the episode from his house. “Zika is from the Zika Forest. Ebola from the Ebola River. Hantavirus, the Hantan River.There’s the West Nile Virus and Guinea worm and Rocky Mountain Spotted Fever, and of course the Spanish flu.”

(Sidenote: The 1918-1920 influenza pandemic didn’t actually originate in Spain. But Britain, Germany, France, the U.S. and other nations had imposed severe media censorship during World War 1 and suppressed information about the illness. Meanwhile in Spain, which didn’t participate in the war, media was free to report on the devastating plague, hence the association. Researchers believe the most likely points of origin are either battlefields in Europe during the war, or Kansas in the United States. Researchers have also suggested possible origins in China.)

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“MERS stands for Middle Eastern Respiratory Syndrome,” Maher continued. “It’s plastered all over airports and no one blogs about it. So, why should China get a pass? Congressman Ted Lieu tweeted, ‘The virus is not constrained by country or race. Be just as stupid to call it the Milan Virus.'”

“No, that would be way stupider because it didn’t come from Milan,” said Maher. “And if it did, I guarantee we’d be calling it the Milan Virus. Jesus f–ing Christ. Can’t we even have a pandemic without getting offended? When they named Lyme disease after a town in Connecticut the locals didn’t get all ticked off.”

Maher added that it “scares” him “that there are people out there who would rather die from the virus than call it by the wrong name” and insisted he wasn’t trying to vilify China specifically. “This is about facts. It’s about life and death. We’re barely four months into this pandemic and the wet markets in China — the ones where exotic animals are sold and consumed — are already starting to reopen.”

Maher continued by  complaining about other things that bug him, such as liberals defending the wearing of hijabs and burkas, before continuing with “It’s not racist to point out that eating bats is batshit crazy.”

“In 2007, researchers at the University of Hong Kong wrote: ‘The presence of a large reservoir of SARS-CoV-like viruses in horseshoe bats, together with the culture of eating exotic mammals in southern China, is a time bomb.’ Dr. Fauci says we should force a global closure of the wet markets because the current crisis is a quote ‘direct result’ of them. On Monday, the UN’s acting head of biodiversity said the same thing,” Maher said.

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“So,” he continued, “when someone says, ‘What if people hear Chinese virus and blame China?’ the answer is we should blame China. Not Chinese Americans, but we can’t stop telling the truth because racists get the wrong idea. There are always going to be idiots out there who want to indulge their prejudices.”

Maher then reiterated his point that “this has nothing to do with Asian Americans, and it has everything to do with China. We can’t afford the luxury anymore of non-judginess towards a country with habits that kill millions of people everywhere. Because this isn’t the first time. SARS came from China, and the bird flu, and the Hong Kong flu, the Asian flu.”

“If they were selling nuclear suitcases at these wet markets would we be so non-judgmental? And isn’t this pretty close to what they are selling? And the next one could be even worse,” Maher said. “If the Chinese military had purposefully infected this country with corona as a bioweapon, we’d be at war with them. We’re always griping about how China manipulates their currency. Well, I’m no monetary expert but I think you would agree this one hurt our economy a little more than the currency manipulation. And China can do this. China once built a 57-story skyscraper in 19 days.”

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“They’re not like us. They can actually get shit done. This is a dictatorship that for decades enforced a one child per family policy under penalty of forced sterilization,” he added. “But you can’t close down the farmer’s market from hell? They need to use that iron fist and pound it down like the whole world depends on it, because it kind of does.”

“And I hope that if someone told Americans that eating hot pockets could cause a worldwide pandemic that we would have the good sense to stop doing it,” Maher concluded. “Although I wouldn’t bet on it.”

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The Television Academy has delayed the Emmys voting schedule and banned all “for your consideration” events. The Tony Awards have been postponed. And with the global economy tanking, a big chunk of Hollywood out of work and a pandemic disrupting nearly every facet of everyday life, the Oscar season that would normally kick into high gear in September may well be thrown into chaos.

While movie awards obviously don’t occupy a spot very high on anybody’s priority list at this point, the damage could include the number of films that qualify for awards, the opportunities for contending films to be seen and the ways in which awards season itself will play out.

“This is a situation no one could have imagined,” Film Independent President Josh Welsh told TheWrap. “It’s having unparalleled impacts on filmmakers, festivals and our community as a whole.”

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Kathleen McInnis, who programs film festivals and consults with independent filmmakers on release and awards strategy, compared the pitfalls to a favorite movie.

“It’s a dangerous position for everybody,” she said. “I feel like in ‘The Princess Bride,’ when they wander into the Fire Swamp with all sorts of dangers. I think we’re either about to run into flame spurts or lightning sand or be attacked by rodents of unusual size.”

Here are some possible areas that could be dramatically affected, with the caveat that things are clearly in flux on every front.

All of the major movie awards shows have distinct eligibility requirements, many of them based on films screening in theaters or at film festivals. And all are now looking at those rules to see if they need to be adjusted at a time when films simply can’t receive theatrical runs or film-festival screenings.

Film Independent, which produces the Film Independent Spirit Awards, moved immediately to change its eligibility rules so that films would qualify for consideration simply by being chosen for one of several film festivals, whether or not those festivals actually took place. (More than 200 films have now qualified even though their SXSW, New Directors/New Films and Tribeca premieres were canceled.)

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The Golden Globes followed suit, suspending two rules to allow films that lost their theatrical premieres to qualify, and substituting screeners and links for the HFPA screenings that once were required. And other awards shows, including the Critics’ Choice Awards, have told TheWrap that they are studying the landscape and determining if they need to make their own rule changes.

For its part, the Academy of Motion Picture Arts and Sciences released a statement that said, in part, “We are in the process of evaluating all aspects of this uncertain landscape and what changes may need to be made.” The organization’s Board of Governors is due to consider vote on new Oscar rules in April; the current rules require a seven-day theatrical run in Los Angeles County for a film to be eligible for the awards.

And according to the South by Southwest Film Festival, the Oscars already made an exception for that festival, which was canceled but still convened juries and gave out awards. A SXSW spokesperson said that the festival was assured by the Academy that its short-film winners still qualified for the Oscars in those categories, even though the festival did not take place.

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For years, the way to launch an awards film has been to premiere it at a major film festival: Sundance for documentaries; Cannes for international films and select U.S. titles; Venice and Telluride and Toronto and New York for everything else.

Of last year’s 39 Oscar-nominated feature films, for example, 25 first played at film festivals. Three, all documentaries, premiered at Sundance, one at South by Southwest, seven at Cannes (including Best Picture winner “Parasite”), four at Venice, three at Telluride, five at Toronto, one at the New York Film Festival and one at the AFI Fest.

So far this year, Sundance took place but SXSW was canceled and Cannes was postponed, with no way to know if can actually take place in the late June/early July time slot it is eyeing. Given the cancellation of the 2020 Olympic Games, which was scheduled to begin in late July, it seems unlikely: “Everybody in the industry is thinking, ‘How can they possibly go on in June?'” one festival veteran admitted.

An awards consultant who has used Cannes to premiere Hollywood films thinks the major studios will stay away even if the festival does go on. “Who’s going to want to go there in June or July?” the consultant said of the festival that last year launched Sony’s “Once Upon a Time … in Hollywood” and Paramount’s “Rocketman.” “I understand that they’d still get international films, but the studios aren’t going to want to go there this year.”

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If Cannes is moved, it will disrupt other festival schedules — and if does ends up being canceled, the likeliest destination for many of its films would be the Venice Film Festival in late August and early September. But with the entire country of Italy on lockdown, is that festival any more apt to take place than Cannes is?

What’s more, Venice simply doesn’t have the capacity to absorb significantly more films. That would push additional films to the Toronto International Film Festival, which has been undergoing internal changes and has tried to trim its enormous slate in the past few years, and the New York Film Festival, which typically programs the cream of earlier festivals with no more than three high-profile world premieres of its own.

Another factor is that Cannes helps countries identify the best films to submit to the Oscars’ Best International Film category. Out of last year’s entries from around the world, 15 were films that had screened in Cannes, including three of the five nominees: France’s “Les Misérables,” Spain’s “Pain and Glory” and the Oscar winner, South Korea’s “Parasite.” And with an Oct. 1 deadline in this category (at least for now), the submissions have to be made earlier than other categories.

“What’s happening with the festivals has to change awards season,” McInnis said. “It has to. For so many films, especially documentaries and short films, you use the festival circuit to your advantage, to have people track you and to build excitement and energy. What do you do now? How do you engineer awareness and excitement about titles and move them in front of people who make decisions about awards?”

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Already, the spring and much of the summer has been cleared of new releases. But most of those wouldn’t have been awards contenders, which typically wait for the fall to premiere and begin campaigning.

Assuming that U.S. movie theaters are open in the fall and release schedules are restored, though, more mainstream movies could be released at that time, making what might be a constricted theatrical market more challenging for indies and awards movies. McInnis calls it “a snowball effect,” as films whose spring and summer festivals were canceled will end up competing with films that were always planned for the fall, films that were shifted from summer to fall and films whose production was halted, but who managed to finish in time for 2020 releases. “There will be all these pipelines of films literally falling over each other to get to an audience,” she said.

Waiting for later in the year, another executive speculated, might be a better move this year: “I think November and December releases will have a better chance, because if we’re lucky, they’ll be coming out when things are righting themselves.”

Of course, this assumes that those end-of-year movies can actually be finished in time to meet their current release dates. One studio executive pointed out that while editing can be done in isolation, with an editor and director sharing work without being in the same room, one of the final stages is often recording the film’s musical score — and in most cases, that requires an orchestra sitting in close quarters and playing together.

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During much of the year, the Academy holds official members screenings in its Samuel Goldwyn and Linwood Dunn theaters in Beverly Hills and Hollywood, respectively. They aren’t doing so currently, of course, but awards season is built around screenings at the Academy and at many private screening rooms and public theaters as well.

The question now is how much of that will return, and whether the coronavirus fallout will hasten the Academy’s move to its members-only streaming platform. One potential change could be to the Oscars’ international category, where until now members could only vote in the first round after seeing the films in theaters. That may well change if people are still reluctant to congregate in the fall.

“I know they are delaying official screenings, thinking about VOD and streaming lending an assist,” one Academy member said, noting the high stakes since the awards broadcast is by far the Academy’s largest source of income. “They have to find a way to make the show viable.”

(According to its 2019 financial statement, the organization received $131 million from “Academy Awards and related activities,” about $3.6 million from membership dues and theater rentals, $12 million from net contributions and $23 million from investment income.)

During the days of isolation, the Academy has also been very active on social media, but some members are hoping for more activity on the members’ site. “I’m surprised the Academy portal is not showing movies and doing its own festivals,” one voter said.

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The Television Academy has put an end to all member screenings, Q&As and receptions for this Emmy season. Maybe the Oscars won’t feel the need to do the same — but are voters going to be comfortable this year with a business-as-usual season built around meet ‘n’ greets, crowded receptions, open buffets of finger food and constant awards shows?

“I think it will change for a while,” said Christine La Monte, an Academy member and movie producer who frequents campaign events, particularly for international films. “People might be a little more hesitant at first, but maybe it’ll go back to normal. The need to be with your creative community may eventually outweigh other things.”

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Still, few people expect the upcoming season to be as much of a social whirlwind as Oscar season usually is — and some expect the tenor of the campaigns to be more subdued as well.

“The big question is how do you campaign respectfully?” asked one studio executive who has been in the thick of awards campaigns for years. “How do we support our filmmakers while being respectful of everything that is going on? From our perspective, it’s definitely going to change. It might take some of the competitiveness out of awards season. Things might not be as vocal or as competitive.”

Of course, at this point this is all speculation — it’s clear that things will be different, but the ways in which they’ll change depend on so many outside factors. “I don’t think anybody knows what’s going to happen, to be honest,” another awards consultant said. “If things get back to normal this summer, we may still be under some sort of social distancing protocol in the fall.”

Added McInnis, “Usually, when there are things that stop the process, you can see the end. With this, we have no end in sight. The unknown is really unknown.”

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Of the two Disneynature nature documentaries that arrive on Disney + on April 3, “Dolphin Reef” is the shorter and breezier of the two, and the one that doesn’t carry the news value of having Meghan Markle as a narrator, the way “Elephant” does. The film has also followed a meandering path to its release, coming out two years ago in France under the title “Blue” and changing its narrator from Cecile de France (for the French version) to Owen Wilson to Natalie Portman along the way.

And yet despite the delays and detours, “Dolphin Reef” is a satisfying entry in the Disneynature slate, albeit one where the dolphins in the title are upstaged by some of their supporting cast, and the reef itself is even more spectacular than the creatures who get the most screen time.

Think of it, maybe, as the “Goodfellas” of nature docs, with the peacock mantis shrimp stealing the show the way Joe Pesci did in that movie; or as one of those Tim Burton movies where the production design is more interesting than the dialogue.

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Our ostensible heroes are “Echo,” a three-year-old bottlenose dolphin who is, we are told, playful and headstrong and not ready to leave his mother and fend for himself; and “Kuma,” his long-suffering mom who wants junior to grow up before he gets eaten by orcas or something. As usual for Disneynature offerings, naming the animals and giving them human motivations via the narration can be problematic for all but the kids in the audience; I find it annoying, but your mileage may vary.

The central story of director Keith Scholey’s movie is Echo’s coming of age, though it’s clear that particular narrative was probably constructed in the editing room more than actually playing out on this Polynesian coral reef. The “original story by Keith Scholey” credit suggests this is one of those Disneynature films that concocts a plausible and family-friendly narrative as a way to explore animal behavior and explain it to a young audience.

But the Echo story makes for a functional way to explore the reef, with its staggering beauty and wild variety of life. “Dolphin Reef” is at its most fascinating when it introduces us to the dolphins’ neighbors, including the aforementioned peacock mantis shrimp, who look as if they were formed by an explosion in the arts-and-crafts drawer of a preschool classroom; humphead parrotfish, who eat coral and poop sand; broadclub cuttlefish, with mouths that look like octopi stuck to the front of their heads; spiky and predatory lionfish; tiger sharks, who eat other sharks; humpback whales, with apparently elaborate rituals designed to secure foster fathers; and turtles – who, Portman tells us, “hate to wait in line.”

(Um, how does she know?)

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The delight in “Dolphin Reef” lies in the intricate dance of these creatures in a setting of otherworldly drama, and Scholey and co-director Alastair Fothergill are nature-doc vets who know how to get the footage. The oceans have been the setting for some of the most visually impressive nature filmmaking you’ll ever see, and this film adds a string of indelible images, from the opening shot of body-surfing dolphins, to a dramatic shark feeding frenzy in the dead of night, to close-ups of seemingly every tiny creature on the reef, to an ineffably graceful shot of the dolphins swimming in their sleep.

Portman’s narration is perky and casual; she’s here to play along more than to instruct. When she offhandedly mentions a couple of times that the reef is dying, you may want to hear why and what can be done – but Disneynature and the filmmakers behind “Dolphin Reef” would rather lure a young audience in by showing them how cute Echo and his pals are. They can leave the warnings and prescriptions for another time and a different movie.

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The 2020 Cannes Film Festival has extended deadlines and is still hoping to reschedule the May event for late June or early July — but in a Q&A posted on the official festival site on Thursday, Cannes organizers also conceded that this year’s festival could be canceled altogether.

“A postponement might be, we repeat, ‘might be,’ possible,” read the first answer in the nine-question Q&A. The festival, it added, “plays an essential role in the economy of world cinema. When the decision to cancel the event in May was considered, every stakeholder in the sector asked us not to give up on holding it this year.”

But at the same time, the festival admitted that it “one way of looking at the situation” to think that a rescheduling is unrealistic given the ongoing effects of the coronavirus in Europe and around the world. “We are working towards a deferred event, if at all possible,” it said. “And if it is not possible, we will accept that.”

Also Read: 2020 Cannes Film Festival Postponed Over Coronavirus Concerns

The Q&A also noted that festival staffers are currently working from home, including programmers who are screening films that have been submitted. The deadline for registering films will be extended by one month or more, until at least the end of May, while accreditation deadlines have been extended for about a month and a half.

The lineup of films, which was originally scheduled to be announced at a Paris press conference on April 16, will not take place on that date. If the festival is rescheduled, the lineup will be announced about one month prior to that date.

And the festival also admitted, “It would be absurd to fixate on the dates of a cultural event when the whole world is living through such a painful time.”

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Read the full Q&A here:


Because a postponement might be, we repeat, “might be”, possible. Although Cannes is mainly famous for its arts and media side, it also plays an essential role in the economy of world cinema. When the decision to cancel the event in May was considered, every stakeholder in the sector asked us not to give up on holding it this year.

We therefore decided, after a rapid, broad, national and international consultation, that it was necessary to investigate all routes which would allow a postponement rather than a simple cancellation. This applies to the whole Festival, including the Marché du Film, which is due to take place as part of the Festival, over the same dates.

No one knows what will happen in the near future, but Cannes must work towards solutions with the sector stakeholders who wish the event to take place. The Festival will therefore be acting in line with this perspective, while closely monitoring the changes in the global health situation. Ultimately, it is the public authorities (The Ministry of Health, the Ministry of the Interior, the Alpes-Maritimes regional authority, and the Cannes City Council) who will give the green light, just as they authorised us to announce a possible deferrment.


We made this announcement two months before the Festival. If you take the example of sport, the Monaco Grand Prix, which takes place during the Festival dates, was postponed on the same day. The spring cycling races in Belgium and France were postponed less than three weeks before they were due to begin. The European football championships were cancelled while already in progress.

The physical preparation (setting up, construction, etc.) of the Festival de Cannes begins one month before the event and had not begun in mid-March. We had until April 15th to evaluate the situation and we did so one month before that, although there were many who called on us to “stand firm”. It is not a matter of standing firm, but of analysing the situation with clarity and responsibility.

According to the professionals, for whom the festival is essential, the calendar used for May and the announcement of the deferral, three months in advance, was the most suitable one. In addition, on the subject of sport, our “athletes” are the artists and most of them are working. Our raw material is films, which we receive electronically. “Technically” (please take note the use of quotation marks), the selection process is taking place as usual.


Yes. It is above all important to remember the imperative nature of the measures in place: “stay at home”, “infection prevention measures” and “social distancing”. The Festival team is not contravening the rules. Our offices are closed and no one is to go out for work purposes.

Since the lockdown measures were announced, the Festival staff have worked remotely and continue to prepare for Cannes via written messages, telephone conversations and group chats.

As for screenings, the films now come via an internet link and are viewed by members of the selection committee in the context of the usual discussion which takes place at this time of year with artists and rights holders. Many remarks from professionals from all over the world are also coming to the fore through this exchange.


No. The traditional press conference announcing the selection will not take place on April 16th. If the Festival is confirmed for the end of June or beginning of July, it will take place around one month beforehand, in Paris, at a date which is yet to be arranged. The Festival will issue more information when circumstances permit.


Yes, accreditation applications will remain open. The various dates for registration have been extended by one-and-a-half months. The details will be updated on the website very soon.

All approved accreditations will remain valid in the case of any postponement.

Accreditations for the two sessions of “3 Days in Cannes” will also remain valid. The new dates of the sessions will be automatically sent out with the new dates of the Festival and people who are already accredited will simply need to confirm their registration for the new dates.


Yes, the Films Department has decided to extend the registration deadline by one month. The new cut-off date will be specified in due course. it will certainly be extended until the end of May. At the moment everything is open. And for any further information, contact:


That is one way of looking at the situation, but we will not take that view until the evidence compels us to abandon this year’s event. At the time of writing, the 2nd round of the Municipal Elections has been announced for June 21st and the Tour de France sets off on June 27th.

It is obviously not possible to give precise dates yet. We have decided to opt for the end of June because we cannot plan further ahead than that. The lockdown which France, as well as many other countries, is under is only in its second week and we will need time, patience, calm and goodwill before we know when we will come out of it. We will also need to show solidarity. It would be absurd to fixate on the dates of a cultural event when the whole world is living through such a painful time.

People count on us: from Japanese film distributors to Cannes café owners. When the moment comes for us to all get ourselves back on our feet,to welcome festival goers, show films, open the theatres to the entire world, meet the artists, the journalists, the professionals and welcome those for whom seeing the creation, distribution and production coming back to life is important, the Festival must be ready. The Festival staff have a duty and a mission to commit themselves to that, in the name of the entire international sector.

We are working towards a deferred event, if at all possible. And if it is not possible, we will accept that. Because we are acting with humility and discretion, without ever losing sight of the national and international health priorities caused by the crisis, nor of the difficulty and pain of the days in hospitals for patients and health professionals. We want to express our solidarity and our admiration for the health workers and for all those who, where ever they are, are giving their time, their energy and their empathy.

And our thoughts are in particular with three great filmmaking countries: Italy, Spain and Iran, who have been particularly hard hit by the epidemic.

We will provide further information as soon as possible.

We will be in touch very soon,

The Festival de Cannes Team

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With the announcement on Wednesday that movie theaters in three Indian states will be closed through the end of March, half of the top 10 markets in the global box office now face at least partial shutdowns of their movie theaters due to the pandemic.

The other countries in the top 10 that are facing various levels of closures are China, Japan, South Korea and Italy. China is the most severely hit, as tens of thousands of theaters nationwide have been closed since the start of the Lunar New Year holiday period in late January. That has erased a critical profit period for the Chinese box office that contributed $835 million to the country’s $9.3 billion total in 2019.

Last week, financial analysts told TheWrap the coronavirus would cost the box office at least $5 billion in global revenue and possibly more if the pandemic persists well into the summer.

Combined, the five top markets facing closures contributed approximately $16.5 billion to the global box office in 2019, according to the Motion Picture Association’s annual THEME report released on Wednesday. That’s 39% of the $42.2 billion grossed globally last year — though it’s worth noting that theater closures have not spread nationwide in all five countries (at least not yet).

The viral outbreak has already prompted studios to push back major global releases like the James Bond thriller “No Time to Die” and “Peter Rabbit 2,” which had previously been scheduled to open in April.

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Pinarayi Vijayan, the chief minister of the Indian state of Kerala, on Tuesday ordered the closure of all schools, universities and cinemas until at least March 31 in the region on the country’s southwest coast. Movie shoots in the region are also being shutdown, and on Wednesday, the states of Jammu and Kashmir also announced that movie theaters will be closed there until the end of March.

Several movie theater chains in Japan and South Korea have announced partial closures in regions where the coronavirus has been most widespread. Some companies, like 109 Theaters in Japan, are reducing the number of seats sold for each auditorium, keeping every other seat empty to allow space between moviegoers. Shares for Toho, a cinema chain and film studio that owns the Godzilla franchise, are down 24% from the start of the year.

Partial closures and reduced capacity has also spread to France, particularly in northern regions. The country’s National Centre for Cinema (CNC) announced on Wednesday that movie theaters, production companies and distributors will be able to have their applications for state subsidies fast-tracked as part of an effort by President Emmanuel Macron to support businesses hurt by coronavirus shutdowns. Many movie theaters in northern France that haven’t closed are keeping every other row of seats empty, and the rest of the film industry has been hit with film shoot cancellations and the possible cancellation of the Cannes Film Festival, though the festival’s director says he’s “reasonably optimistic” that the event will still go on.

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Outside of the global top 10, other countries like Poland, Kuwait, and Lebanon have also announced movie theater closures with more Middle Eastern nations expected to do the same. Aside from China, the hardest hit country has been Italy, which has also had all theaters closed as part of a nationwide lockdown announced Tuesday by Prime Minister Giuseppe Conte.

One major market that hasn’t closed theaters or reduced capacity yet is the United States. On Tuesday, the California/Nevada division of the National Association of Theater Owners announced that movie theaters in Santa Clara County, one of the areas hardest hit by the virus so far in the U.S., will remain open this weekend. County health officials announced a ban on “mass gatherings” that draw over 1,000 people into a single space, but this does not apply to cinemas as modern movie auditoriums hold a maximum capacity of 180-220 people.

Pacific Northwest Theater Owners, the NATO regional office for Washington State, told TheWrap that theaters will also remain open there this weekend. Over 700 cases of coronavirus have been reported so far in the U.S.

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Bill Maher came to Chris Matthews’ defense Friday night, excusing the MSNBC “Hardball” host for making “kind of creepy” flirtatious remarks to women over the years.

“A friend of mine lost his job this week, Chris Matthews. I wanted to give him a shout out because I will miss him and a lot of other people will too,” Maher said on his Friday HBO show, “Real Time.” “I thought we would talk about it because MSNBC used to run this thing, ‘This is who we are.’ Well, I don’t like who you were this week, and I don’t think a lot of people who work there liked this either.”

Matthews abruptly retired on-air at the start of “Hardball” earlier in the week following a string of comments that raised eyebrows, all of which Maher pointed out in detail… and poked fun at.

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“I just want to go through some of the ‘horrible’ things Chris Matthews did,” Maher said. Reading off a list, he first mentioned the criticism Matthews garnered for comparing Bernie Sanders’ Nevada caucus win to the fall of France to Nazi Germany in 1940. “Obviously, he’s a Nazi,” Maher said with a roll of his eyes.

“Then he mistook [2020 Democratic U.S. Senate candidate from South Carolina] Jaime Harrison, who we’ve had on the show, for [current Republican South Carolina] Sen. Tim Scott. They’re both African Americans. He thought one was the other… so plainly he’s a klansman,” Maher said, shaking his head in disbelief.

The comedian also brought up an interview Matthews did with Sen. Elizabeth Warren in which he asked her if she believed Mike Bloomberg was the “kind of person” who would tell a pregnant employee “maybe you should kill him,” speaking of her unborn child.

“First of all, I got fired for doing what I do on a show called ‘Politically Incorrect.’ [Matthews’] show was called ‘Hardball’!” Maher emphasized.

Also Read: MSNBC's Chris Matthews Accused of 'Inappropriately' Flirting With Journalist Who Was Guest on His Show

Maher cited journalist Laura Bassett, who wrote a piece for GQ titled, “Like Warren, I Had My Own Sexist Run-In with Chris Matthews.” In the article, Bassett said Matthew told her, “Why haven’t I fallen in love with you yet?'”

“He said some things that are kind of creepy to women. Ya know, guys are married for a million years, they want to flirt for two seconds,” Maher went on.

“Yes, it is creepy, but she said, ‘I was afraid to name him at the time for fear of retaliation. I’m not afraid anymore,'” Maher said, adding sarcastically, “Thank you, Rosa Parks.”

“Chris did apologize for all of this. He said, ‘Ya know, the way I talk to women, it’s not right now and it wasn’t right then,’ which is gracious of him. But I find it such a cheap way to look enlightened that people do nowadays. ‘I’m not doing this thing that you did THEN.’ Yea, but if you were around then, you would have!”

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Chris Matthews was a mainstay at MSNBC for two-plus decades until his abrupt resignation on Monday following several on-air gaffes and an accusation he made inappropriate remarks to another journalist. What he was not, however, was a big ratings draw.

Last month, “Hardball With Chris Matthews” was dead last in the 7 p.m. ET time slot among adults 25-54, the key demographic for cable news programming most coveted by advertisers. According to Nielsen’s Live + Same Day ratings, he drew just 229,000 viewers per episode in the key demo — trailing both Fox News’ “The Story With Marta MacCallum” (512,000 adults 25-54) and CNN’s “Erin Burnett OutFront” (251,000 adults 25-54).

Still, Matthews managed to draw 1.5 million total viewers, ahead of Burnett (964,000) but still well behind MacCallum (2.7 million). That means the 74-year-old’s audience skewed a little long in the tooth.

Those rankings aren’t just for February — the cable news standings shook out the same way for calendar 2019, when “Hardball” topped CNN for the 10th straight year in total viewers.

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Matthews had the 21st most-watched show on cable news in February. That positioning holds true for both the main demo and in overall audience.

The TV veteran surprised viewers on Monday by announcing his retirement on air. “After a conversation with MSNBC, I decided tonight will be my last ‘Hardball,'” he said. “The younger generations out there are ready to take the reins. … They’re improving the workplace. We’re talking here about better standards than we grew up with, fair standards.”

“A lot of it has to do with how we talk to each other. Compliments on a woman’s appearance that some men, including me, might have once incorrectly thought were OK were never OK,” he continued. “For making such comments in the past, I’m sorry.”

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After his announcement, the show cut to a commercial break; when it returned, political correspondent Steve Kornacki replaced Matthews on air and appeared surprised by the announcement. “That was a lot to take in just now, I’m sure,” Kornacki said. “I’m sure you’re still absorbing that and I am too.”

An MSNBC representative told TheWrap that the network will feature a rotating series of hosts until a new show is selected for the time slot.

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Matthews’ retirement came three days after a journalist accused him of making inappropriate comments to her when she was a guest on his show. After the accusation was published last Friday in GQ, Matthews was noticeably absent from MSNBC’s coverage of the South Carolina primaries on Saturday.

Late last month, Matthews also garnered criticism for comparing Bernie Sanders’ Nevada caucus win to the fall of France to Nazi Germany in 1940, leading the MSNBC host to issue an apology. His post-debate interview with Elizabeth Warren, where he questioned why Warren believed a female employee of Mike Bloomberg’s who accused the former mayor of pressuring her to have an abortion, also received pushback.

Matthews’ on-air announcement ends his 23-year tenure as the host of “Hardball.” The show began in 1997.

“For those of you who’ve gotten in the habit of watching ‘Hardball’ every night, I hope you’re gonna miss it, ’cause I’m gonna miss you,” Matthews said on Monday evening.

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James Lipton, the host and creator of “Inside the Actors Studio” has died at the age of 93.

Lipton died in his Manhattan home on Monday after a battle with bladder cancer, his wife Kedakai Mercedes Lipton said.

A writer and producer, Lipton joined the Actors Studio in 1992 and went on to create “Inside the Actors Studio,” a series of seminars for drama students consisting of lengthy one-on-one conversations with performers dissecting their craft and experience. The series debuted in 1994 on Bravo and featured hundreds of guests including Paul Newman, Halle Berry, Meryl Streep, and Robin Williams.

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“Inside the Actors Studio” went on to earn 21 Primetime Emmy nominations, winning in 2013 for outstanding informational series or special.

Lipton left the show when it moved from Bravo to Ovation in 2019. The show employs the same format, with a rotating series of guests in place of a set host. In a statement at the time of the transition, Lipton called it “gratifying to see the legacy of ‘Inside The Actors Studio’ being carried forward for a new generation to appreciate and enjoy.”

In their own obituary for Lipton, Ovation praised the hosts’ “passion, dogged spirit, and indelible contribution to the world of performing arts.”

Also Read: James Lipton Exits 'Inside the Actors Studio' After 25 Years

Beloved Inside the #ActorsStudio host James Lipton has died at 93. We’ll miss him dearly, but we wish him peace as he arrives at those pearly gates. ???? #RestInPeace

— Ovation (@ovationtv) March 2, 2020

“James Lipton was a titan of the film and entertainment industry and had a profound influence on so many,” Bravo said in a statement. “I had the pleasure of working with Jim for 20 years on Bravo’s first original series, his pride and joy ‘Inside the Actors Studio.’  We all enjoyed and respected his fierce passion, contributions to the craft, comprehensive research and his ability to bring the most intimate interviews ever conducted with A-list actors across generations. Bravo and NBCUniversal send our deepest condolences to Jim’s wife Kedakai and all his family.”

Lipton’s work as a writer included soap operas like “Guiding Light” and “Another World,” the Broadway musical “Sherry!,” as well as the books “An Exaltation of Larks” and “Mirrors.” He also produced a number of television specials and made a number of guest appearances as himself on shows such as “The Simpsons,” “Glee” and “Saturday Night Live.”

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The stormiest and most beleaguered Cesar Awards ever took place in Paris on Friday, with “Les Miserables” being named 2019’s best French film while protesters lined the streets outside the Salle Pleyel protesting the nominations for Roman Polanski’s “J’accuse,” which is known as “An Officer and a Spy” outside France.

Despite the furor, Polanski won two Cesar awards, one for best director and another for adapted screenplay, which he shared with his co-writer Robert Harris. His film also won for its costumes.

It was Polanski’s fifth Cesar in the directing category, the most of any director. His previous awards were for “Tess,” “The Pianist,” “The Ghost Writer” and “Venus in Fur.”

Despite all the attention on Polanski, the Oscar-nominated “Les Miserables” was the big winner of the night, taking home four awards. In addition to the best-film prize, director Ladj Ly’s taut drama also won for most promising actor (Alexis Manenti) and best editing, as well as taking the audience award, the one category that is chosen by members of the public rather than the 4,000-plus voters in the Academy of Cinema Arts and Sciences.

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The best actor prize went to Roschdy Zem for “Oh Mercy!” and best actress to Anais Demoustier for “Alice and the Mayor,” while the supporting actor and actress awards were given to Swann Arlaud for “By the Grace of God” and Fanny Ardant for “La Belle Epoque,” respectively.

The awards for the most promising actor and actress went to Alexis Manenti for “Les Miserables” and Lyna Khoudri for “Papicha,” respectively.

Polanski’s “An Officer and a Spy,” which dramatizes the Dreyfus affair in which a 19th-century French officer was unfairly convicted of treason, led all films with 12 nominations from the Academy of Cinema Arts and Sciences. The nominations for Polanski, who has been subject to multiple accusations of sexual misconduct, caused widespread protests not just about the nominations but about the organization itself.

Earlier in February, more than 400 members of the French Academy signed an open letter calling for a “complete overhaul” of the organization, which is run by an unelected board of directors. In response, the entire board resigned, effective after the ceremony, and asked that a mediator oversee reforms.

This week, Polanski announced that he would not attend the ceremony because he anticipated it would turn into a “public lynching.” None of the nominees from his film attended the show, which did not stop women’s groups from organizing protests outside the venue.

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Other films that went into the show with multiple nominations included “Les Miserables” and “La Belle Epoque” with 11, “Portrait of a Lady on Fire” with 10 and “By the Grace of God” and “The Specials” with eight.

Other winners on Friday included “Papicha” for best first feature film, “M” for documentary and “I Lost My Body” for animated film.

“La Belle Epoque” won for its original screenplay and production design, while craft awards went to “Portrait of a Lady on Fire” for cinematography, “I Lost My Body” for music and “Le Chant du Loup” for sound.

The first non-English film to win Best Picture at the Oscars, Bong Joon Ho’s “Parasite,” beat “Joker,” “Once Upon a Time … in Hollywood” and “Pain and Glory” in the Best Foreign Film category.

The Cesars normally take place just before the Oscars — but while the Academy scheduled this year’s show on Feb. 9, the earliest date ever, the Cesars retained its typical late-February slot.

This is the complete list of Cesar nominees. Winners are indicated by *WINNER.

Best Film
“La Belle Epoque”
“By the Grace of God”
“Les Miserables” *WINNER
“An Officer and a Spy” (“J’accuse”)
“Oh Mercy!”
“Portrait of a Lady on Fire”
“The Specials”

Best Director
Nicolas Bedos, “La Belle epoque”
Arnaud Desplechin, “Oh Mercy!”
Ladj Ly, “Les Miserables”
Francois Ozon, “By The Grace Of God”
Roman Polanski, “An Officer and a Spy” (“J’accuse”) *WINNER
Celine Sciamma, “Portrait of a Lady on Fire”
Eric Toledano and Olivier Nakache, “The Specials”

Best First Feature Film
“Le Chant du Loup”
“Les Miserables”
“Nom de la Terre”
“Papicha” *WINNER

Best Actress
Anais Demoustier, “Alice and the Mayor” *WINNER
Eva Green, “Proxima”
Adele Haenel, “Portrait of a Lady on Fire”
Chiara Mastrianni, “Chambre 212”
Noemie Merlant, “Portrait of a Lady on Fire”
Doria Tillier, “La Belle epoque”
Karin Viard, “The Perfect Nanny”

Best Actor
Daneil Auteuil, “La Belle epoque”
Damien Bonnard, “Les Miserables”
Vincent Cassel, “The Specials”
Jean Dujardin, “An Officer and a Spy” (“J’accuse”)
Reda Kateb, “The Specials”
Melvil Poupaud, “By The Grace Of God”
Roschdy Zem, “Oh Mercy!” *WINNER

Best Supporting Actress
Fanny Ardant, “La Belle epoque” *WINNER
Josaine Balasko, “By The Grace Of God”
Laure Calamy, “Only the Animals”
Sara Forestier, “Oh Mercy!”
Helene Vincent, “The Specials”

Best Supporting Actor
Swann Arlaud, “By The Grace Of God” *WINNER
Gregory Gadebois, “An Officer and a Spy” (“J’accuse”)
Louis Garrel, “An Officer and a Spy”
Benjamin Lavernhe, “Love At Second Sight”
Denis Menochet, “By The Grace Of God”

Most Promising Actress
Luana Bajriani, “Portrait of a Lady on Fire”
Mame Bineta Sane, “Atlantics”
Celeste Brnquentuell, “The Dazzled”
Lyna Khoudri, “Papicha” *WINNER
Nina Meurisse, “Camille”

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Most Promising Actor
Anthony Bajon, “In The Name of The Land”
Benjamin Lessieur, “The Specials”
Alexis Manenti, “Les Miserables” *WINNER
Liam Pierron, “School Life”
Djibril Zonga, “Les Miserables”

Best Original Screenplay
“La Belle Epoque” *WINNER
“By the Grace of God”
“Les Miserables”
“Portrait of a Lady on Fire”
“The Specials”

Best Adapted Screenplay
“Adults in the Room”
“I Lost My Body”
“An Officer and a Spy” (“J’accuse”) *WINNER
“Oh Mercy!”
“Seules les Betes”

Best Cinematography
“La Belle Epoque”
“Les Miserables”
“An Officer and a Spy” (“J’accuse”)
“Oh Mercy!”
“Portrait of a Lady on Fire” *WINNER

Best Editing
“La Belle Epoque”
“By the Grace of God”
“Les Miserables” *WINNER
“An Officer and a Spy” (“J’accuse”)
“The Specials”

Best Costume Design
“La Belle Epoque”
“Le Chant du Loup”
“An Officer and a Spy” (“J’accuse”) *WINNER
“Portrait of a Lady on Fire”

Best Production Design
“La Belle Epoque” *WINNER
“An Officer and a Spy” (“J’accuse”)
“Portrait of a Lady on Fire”
“The Wolf’s Call”

Best Sound
“La Belle Epoque”
“Le Chant du Loup” *WINNER
“Les Miserables”
“An Officer and a Spy” (“J’accuse”)
“Portrait of a Lady on Fire”

Best Original Music
“I Lost My Body” *WINNER
“Les Miserables”
“An Officer and a Spy” (“J’accuse”)
“Oh Mercy!”

Best Documentary Film
“The Cordirella of Dreams”
“68, Mon Pere et les Chous”
“Wonder Boy”

Best Animated Feature Film
“The Bear’s Famous Invasion of Sicily”
“I Lost My Body” *WINNER
“The Swallows of Kabul”

Best Animated Short Film
“Ce magnifique gateau!”
“Je sors acheter des cigarettes”
“La nuit des sacs plastiques” *WINNER
“Make It Soul”

Best Short Film
“Beautiful Loser”
“Pile Poil” *WINNER
“Le Chant d’Ahmed”
“Le Chien bleu”
“Nefta Football Club”

Best Foreign Film
“Lola Vers la Mer”
“Once Upon a Time … in Hollywood”
“Pain and Glory”
“Parasite” *WINNER
“The Traitor”
“Young Ahmed”

Audience Award
“Qu’est-ce qu’on a encore fait au Bon Dieu?”
“Nous finirons ensemble”
“The Specials”
“Au nom de la terre”
“Les Miserables” *WINNER

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"He had to find a new way to make art." Electrolift Creative has debuted an official trailer for an art world documentary titled Marcel Duchamp: Art of the Possible (or The Art of the Possible), made by director Matthew Taylor. The film explores the life, philosophy and impact of one of the most influential early 20th century modernists, Marcel Duchamp, originally born in Normandy, France in 1887. The documentary breaks down Duchamp's ideas and applies them to both historical events and the modernist explosion that blanketed the early 20th century. "The Art of the Possible isn't simply a biopic; rather, the film shows how Duchamp's ideas changed the public consciousness, and our understanding of aesthetics, art, and culture. The film highlights the singular impact of Duchamp's philosophy on art, and, more importantly, examines how Duchamp's revolutionary ideas from the early 20th century have shaped the 21st century and modern day." With appearances by Michel Gondry, Jeff Koons, Paul Matisse, Marina ...

“Cuties” director Maïmouna Doucouré says her film, which premiered at the Sundance Film Festival last Thursday, mirrors her experience as a young girl, when she wanted to be a boy because of the “injustices” towards women she saw around her.

“I was born in France, I grew up there and this movie is about a lot of traditions I saw when I was young, because when I was a child, my dream was to be a boy,” Doucouré told TheWrap’s Sharon Waxman at the festival. “I didn’t want to be a girl because of a lot of injustices I saw around me. Because of that, I was praying [to] God at 6, 7 years old to make me a boy. I saw that the world could be better and easier as a guy.”

She added, “I grew up in both cultures — my parents are from Senegal and I also have the Western culture. I was often torn between both as a woman. Today, I’m fine, I am happy to be a girl of course, but we have a fight to change the mentality of people about the place of women in society, and the movie is about how to become a woman in our society because it’s a bit complicated.”

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“Cuties” is about a young, French-African girl who joins a group of dancers at her school called “the cuties,” and she quickly becomes aware of her blossoming femininity. However, this upsets her mother, and her values, in the process.

Doucouré said she wanted to explore the question of whether we should “have the right to choose which women we can be in this world” or not.

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“In our culture, even today, I can say I’m not totally free,” she said. “Because I love to wear short dresses and at the same time, when I go to a religious ceremony, I wear a veil. Just choose as a woman: who do you want to be?”

“Cuties” stars Fathia Youssouf Abdillahi, Ilanah Cami-Goursolas, Demba Diaw and Medina El Aidi. It will debut in France on April 1.

Watch the video above.

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NBCUniversal unveiled its forthcoming streaming service Peacock on Thursday, including the full slate of scripted originals set to debut on the platform.

One of the new projects announced was a scripted comedy series from Tina Fey, Robert Carlock and “Unbreakable Kimmy Schmidt” alum Meredith Scardino. Titled “Girls5Eva,” the series centers on a one-hit-wonder girl group from the ’90s who reunite to give their pop star dreams one more shot. Per Peacock’s description of the series, “They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?”

Scardino will write and executive produce alongside Fey and Eric Gurian of Little Stranger, “Unbreakable Kimmy Schmidt” producer Robert Carlock, and Jeff Richmond and David Miner of 3 Arts Entertainment.

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Earlier on Thursday, Peacock also announced a new slate of original development, including a “MacGruber” revival, a new drama starring Laverne Cox, a comedy based on the McElroy family’s “Dungeons & Dragons” podcast, and others from Amy Poehler and Mindy Kaling.

Peacock has also picked up a number of international series for distribution in the U.S., including the BBC drama thriller “The Capture”; Channel 4’s “Lady Parts”; and the comedies “Intelligence” starring David Schwimmer, “Code 404,” and “Hitmen” from Sky Studios.

Previously announced Peacock scripted originals include comedies “Rutherford Falls,” “Saved by the Bell,” “A.P. Bio,” “Punky Brewster,” and the movie spinoff “Psych 2: Lassie Come Home,” as well as dramas “Dr. Death,” “Battlestar Galactica,” “Brave New World,” “Angelyne,” and “Armas de Mujer.”

See the full list of projects picked up to series at Peacock below.

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Limited series based on The Hollywood Reporter feature that explored the identity of L.A.’s mysterious billboard bombshell.

Armas De Mujer
From the team behind Telemundo’s hit La Reina del Sur comes a new dramedy series led by Mexican superstar Kate del Castillo. Four women suffer their worst nightmare: the police arrest their husbands for being linked to the same criminal organization. Accustomed to a life of abundance, they will be forced to join forces in the most unusual manner.

Battlestar Galactica
From the mind of Mr. Robot creator Sam Esmail comes a series that explores a new story within the Battlestar Galactica mythology, the eponymous TV show that saw humanity at war with Cylons, machines of their own creation.

Brave New World
Based on Aldous Huxley’s groundbreaking 1932 novel, Brave New World imagines a utopian society that has achieved peace and stability through the prohibition of monogamy, privacy, money, family, and history itself.

The Capture
A timely conspiracy thriller exploring pressing questions about surveillance and misinformation. Set in London, the modern-day spy show begins with the arrest of a former soldier, which spirals into a complex conspiracy involving manipulated video evidence. Produced by Heyday Television.

Dr. Death
Based on Wondery’s hit podcast of the same name, Dr. Death tells the terrifying true story of Dr. Christopher Duntsch (Jamie Dornan), a rising star in the Dallas medical community. Young, charismatic and ostensibly brilliant, Dr. Duntsch was building a flourishing neurosurgery practice when everything suddenly changed. Patients entered his operating room for complex but routine spinal surgeries and left permanently maimed or dead. As victims piled up, two fellow physicians, neurosurgeon Robert Henderson (Alec Baldwin) and vascular surgeon Randall Kirby (Christian Slater), set out to stop him. Dr. Death explores the twisted mind of a sociopath and the gross negligence of the system designed to protect the most defenseless among us.


The Amber Ruffin Show
Each week The Amber Ruffin Show will showcase Amber’s signature smart-and-silly take on the week. A late-night show with just the good parts – the comedy.

A.P. Bio
When disgraced Harvard philosophy professor Jack Griffin loses out on his dream job, he is forced to return to Toledo, Ohio, and work as a high school Advanced Placement biology teacher. As he comes crashing in to Whitlock High School, Jack makes it absolutely clear he will not be teaching any biology. Realizing he has a room full of honor roll students at his disposal, Jack decides instead to use the kids for his own benefit. Eager to prove that he is still king of the castle, Principal Durbin struggles to control the force of nature that is Jack Griffin.

Code 404
Detective Inspectors Major and Carver are the top crime-fighting duo at the Met Police’s Special Investigation Unit, until Major gets gunned down on the job. But in an experimental artificial intelligence project, he’s brought back from the dead.

Five Bedrooms
This is a story of five unlikely allies in life who throw caution to the wind and hit upon a unique solution to a common problem. Ignoring the nay-saying of families and friends, they’re teaming up, signing contracts and buying a house together. Yes, it’s a grand social experiment. It might be genius, or it might be a total disaster…but they’re not putting their lives on hold for love any longer. There’s just one glaring problem: they’ll have to live with each other.

When a one-hit-wonder girl group from the 90’s gets sampled by a young rapper, its members reunite to give their pop star dreams one more shot. They may be grown women balancing spouses, kids, jobs, debt, aging parents, and shoulder pain, but can’t they also be Girls5Eva?

The hits and (more often than not) misses of two hapless, dead broke best friends trying to make their way in the world with only each other to rely on. They also just happen to kill people for a living. Having stumbled into a career in contract killing, misfits Fran and Jamie are not your typical killers for hire. Working out of their scruffy van, each episode follows the hapless duo as they try to carry out their latest hit, inevitably derailed by incompetence, bickering, and inane antics.

A workplace sitcom set in the UK’s Government Communications Headquarters, which is a kind of weedier, geekier, more bureaucratic version of MI5 and MI6. When an arrogant, maverick NSA agent Jerry comes over from the US to join the team, he enlists an inept and tactless computer analyst Joseph in a power grab that threatens to disrupt the team’s ability to combat cyber terrorism.

Lady Parts
Lady Parts is an anarchic, laugh-out-loud music comedy following a Muslim female punk band called Lady Parts. It tracks the highs and lows of the band members as seen through the eyes of Amina Hussein – a geeky PhD student who is recruited to be their unlikely lead guitarist.

Psych 2: Lassie Come Home (Film)
Santa Barbara Police Chief Carlton Lassiter is ambushed on the job and left for dead. In a vintage Psych-style Hitchcockian nod, he begins to see impossible happenings around his recovery clinic. Shawn and Gus return to Lassie’s side in Santa Barbara and are forced to navigate the personal, the professional, and possibly the supernatural. Separated from their new lives in San Francisco, our heroes find themselves unwelcome in their old stomping grounds as they secretly untangle a twisted case without the benefit of the police, their loved ones, or the quality sourdough bakeries of the Bay Area. What they uncover will change the course of their relationships forever.

Punky Brewster
In this continuation of the iconic 80s sitcom about a bright young girl raised by a foster dad, Punky is now a single mother of three trying to get her life back on track when she meets Izzy (Copeland), a young girl in the foster system who reminds Punky a lot of her younger self.

Rutherford Falls
A small town in upstate New York is turned upside down when local legend and town namesake, Nathan Rutherford (Ed Helms) fights the moving of a historical statue.

Saved by the Bell
When California governor Zack Morris gets into hot water for closing too many low-income high schools, he proposes they send the affected students to the highest performing schools in the state – including Bayside High. The influx of new students gives the over privileged Bayside kids a much needed and hilarious dose of reality.

The Kids Tonight Show
The Kids Tonight Show is the only late-night talk show for kids, by kids. Kids doing a monologue, kids playing games, and kids interviewing the biggest stars in the world. It’s everything you love about Jimmy Fallon, but the kids are in charge.

Who Wrote That
A docuseries that gives a behind the scenes look at Saturday Night Live’s most important writers.


Archibald’s Next Big Thing
From the creative mind of Tony Hale (Veep), Archibald’s Next Big Thing is the story of Archibald Strutter, a chicken who ‘yes-ands’ his way through life. Archibald and his siblings live in Crackridge, a close-knit community filled with an ensemble of quirky characters. Archibald’s adventurous spirit often gets him in over his head, but he always manages to leave his world better than when he found it. Through Archibald’s unique perspective, we discover that things are seldom perfect and instead learn to focus on the humor and beauty of life’s imperfections.

Dragon Rescue Riders
Executive produced by Jack Thomas (Dragons: Race to the Edge), Dragons: Rescue Riders takes our young heroes to new highs when Dak, Leyla and their dragon friends find strange crystals that change their powers in fantastic and unexpected ways. And to new lows when they discover the sunken city of Valantis – a place filled with much dragon knowledge and danger.

DreamWorks Where’s Waldo?
DreamWorks Where’s Waldo? brings the iconic character to life in a new animated series from executive producer FM De Marco (Spy Kids: Mission Critical) and co-executive producer John Tellegen (Spy Kids: Mission Critical). Twelve-year- old Waldo and his best friend Wenda are members of the Worldwide Wanderer Society–the international order of curious travelers who circle the globe celebrating cultures and solving problems through observation. Their mentor–Wizard Whitebeard, a seasoned wanderer–sends these inquisitive young adventurers on international travel missions so they can earn their stripes and someday become wizard-level wanderers too. But standing in Waldo and Wenda’s way is their rival Odlulu, who can’t help but cause trouble wherever she goes.

Curious George
For more than 60 years the world has followed the adventures of a curious little monkey named George and his friend the Man with the Yellow Hat. Created by Margret and H.A. Rey, Curious George was first published in 1941 and has remained consistently beloved by children ever since. This animated series continues with that tradition as it introduces George to a whole new adoring generation. With a focus on education, the series incorporates early science and math content and draws upon George’s curiosity-driven adventures to target pre-school age viewers. George’s entertaining and ultimately informative experiences have proven to parents and children worldwide that there is nothing wrong with wanting to learn about the world around you!


Dream Team 2020
Follow USA Basketball’s top superstars on their journey to Tokyo in this exclusive, behind the scenes documentary series produced in partnership with NBA Entertainment. We’ll take you inside the 2020 Dream Team’s training camp, exhibition games and preparation for the 2020 Olympics, where Team USA is expected to make another gold medal run.

Hot Water: In Deep with Ryan Lochte
At the 2016 Rio Olympics Ryan Lochte was at the center of a scandal that has since overshadowed his long and decorated swimming career. Now a 35-year-old husband and father of two young children, Lochte is hoping for one more chance to make Team USA, and prove he’s not the same man he was four years ago.

United States of Speed
From Jesse Owens to Carl Lewis to Maurice Greene, there is a proud tradition of sprinting success in the United States. However in recent years, Jamaica’s Usain Bolt has been unbeatable at the Olympics. Now that the fastest man of all time has retired, meet the Americans who aim to put Team USA back on top in the sprints.

Run Through the Line
Nike founder Phil Knight and his friends take viewers through the creation of his world-renowned company and the ambitions he still chases at 81 years young. Based loosely on Knight’s best-selling memoir, Shoe Dog.

The Greatest Race
You probably remember where you were when you saw it. Michael Phelps and his teammates had fallen hopelessly behind race favorite France in the 4×100 relay at the 2008 Beijing Olympics. In the final leg, 32-year-old American Jason Lezak was losing ground to Alain Bernard, the 100m world record holder and anchor of the seemingly unbeatable French team. Then the impossible happened. Hear from the swimmers on both sides of the epic relay as we revisit The Greatest Race.

Untitled Dale Earnhardt Jr. Series
Created and hosted by Dale Earnhardt Jr., this series is an exploratory look at great racing cathedrals of the past. Dale Jr. tells the stories of speedways that have been forgotten, abandoned, and overtaken by nature.

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Dotted by hilltop views and an historic city-center, Angouleme in the Southwest of France has, in recent years, developed into a minor production hub for the Gallic industry. Benefiting from its status as France’s cartoonist and graphic arts capital, the city has become renowned for its animation and post-production infrastructure, boasting more than 30 animation […] | 1/15/20

Spike Lee has been named jury president of the 2020 Cannes Film Festival, which will be held May 12-23. The announcement comes two years after Lee’s last film “BlacKkKlansman” premiered to a standing ovation at the 2018 edition of the festival.

“Spike Lee’s perspective is more valuable than ever. Cannes is a natural homeland and a global sounding board for those who (re)awaken minds and question our stances and fixed ideas,” the Festival’s board said in a statement. “Lee’s flamboyant personality is sure to shake things up. What kind of President of the Jury will he be? Find out in Cannes!”

In his own statement, Lee said he “was shocked, happy, surprised and proud all at the same time,” and he credited the festival for having a huge role in his career success. “To me the Cannes Film Festival (besides being the most important film festival in the world – no disrespect to anybody) has had a great impact on my film career. You could easily say Cannes changed the trajectory of who I became in world cinema,” he said.

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“It started way back in 1986 – my first feature film ‘She’s Gotta Have It,’ which won the Prix de la Jeunesse in the Director’s Fortnight. The next joint was in 1989 – ‘Do The Right Thing,’ an Official Selection in Competition. And I don’t have the time nor space to write about the cinematic explosion that jumped off, still relative to this, 30 years later,” Lee continued.

“Then ‘Jungle Fever’ 1991 – Official Selection in Competition, ‘Girl 6’ 1996 – Official Selection out of Competition, ‘Summer Of Sam’ 1999 – Director’s Fortnight, ‘Ten Minutes Older’ 2002 – Official Selection in Un Certain Regard and then ‘BlacKkKlansman’ 2018 – Official Selection in Competition where it won the Grand Prix, which became the launching pad for the world theatrical release which led to my Academy Award for screenplay. So if you were keeping score that’s 7 Spike Joints to be chosen.”

Lee added that he is “honored to be the first person of the African diaspora (USA) to be named President of the Cannes Jury and of a main film festival.”

“The Lee family sincerely thanks the Festival de Cannes, Pierre Lescure and Thierry Frémaux and the great people of France who have supported my film career throughout four decades,” the director concluded, “I will always treasure this special relationship.”

The full jury for the 2020 Cannes film festival will be announced in April.

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“Lunana: A Yak in the Classroom” — the story about a young displaced teacher who travels to Bhutan and is taught his own life lessons from the happy and kind locals (including a yak) — won the Audience Award for Best Narrative Feature at The Palm Springs International Film Festival (PSIFF), it was announced Sunday.

“Gay Chorus Deep South” — a documentary following the San Francisco Gay Men’s Chorus as the group embarks upon a high-risk tour of the Deep South to spread a message of tolerance — won the Audience Award for Best Documentary Feature.

“Parasite” screenwriters Bong Joon Ho and Han Jin Won won the FIPRESCI Prize for International Screenplay for their tale about two Korean families — one wealthy and one poor — whose live intersect in the most unexpected way.

Among the acting awards, Bartosz Bielenia from “Corpus Christi” and Helena Zengel from “System Crasher” took top honors.

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The jury award categories included the FIPRESCI Prize for films in the International Feature Film Oscar Submissions program; New Voices New Visions Award for unique viewpoints from first- and second-time directors; Best Documentary Award for compelling non-fiction filmmaking; Ibero-American Award for the best film from Latin America, Spain or Portugal; Local Jury Award for the film that promoted understanding and acceptance between people; and the Young Cineastes Award for the film chosen by the Youth Jury. Finally, the GoEnergistics (GoE) Bridging the Borders Award, presented by Cinema Without Borders, honors the film that is most successful in bringing the people of our world closer together.

See the complete list of winners below:

Audience Award for Best Narrative Feature
“Lunana: A Yak in the Classroom” (Bhutan), Director Pawo Choyning Dorji

Audience Award for Best Documentary Feature
“Gay Chorus Deep South” (USA), Director David Charles Rodrigues

FIPRESCI Prize for Best International Feature Film of the Year
“Beanpole” (Russia), Director Kantemir Balagov

FIPRESCI Prize for the Best Actor in an International Feature Film
Bartosz Bielenia from “Corpus Christi” (Poland)

FIPRESCI Prize for Best Actress in an International Feature Film
Helena Zengel from “System Crasher” (Germany)

FIPRESCI Prize for International Screenplay
“Parasite” (South Korea), Screenwriters Bong Joon Ho and Han Jin Won
Special Mention: “Antigone” (Canada), Screenwriter Sophie Deraspe

New Voices/New Visions Award
“Song Without A Name” (Peru/Spain/USA/Chile), Director Melina León

The Documentary Award
“Talking About Trees” (France/Sudan/Germany/Chad/Qatar), Director Suhaib Gasmelbari

Ibero-American Award
“Monos” (Colombia), Director Alejandro Landes.
Special Mention: “Workforce” (Mexico), Director David Zonana.

Local Jury Award
“Adam” (Morocco), Director Maryam Touzani

Young Cineastes Award
“Corpus Christi” (Poland), Director Jan Komasa

GoEnergistics (GoE) Bridging the Borders Award
“Advocate” (Israel/Canada/Switzerland), Director Rachel Leah Jones, Philippe Bellaiche
Special Mention: “The Australian Dream” (Australia), Director Daniel Gordon

The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 136,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, which honors the year’s best achievements in cinema in front of and behind the camera.

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Claudine Auger, a French actress best known for her work as the Bond girl Domino in the 1965 James Bond movie “Thunderball” opposite Sean Connery, has died. She was 78.

The official James Bond Twitter account shared the news of her passing Friday.

“It’s with great sadness we have learnt that Claudine Auger, who played Domino Derval in ‘Thunderball” (1965), has passed away at the age of 78,” @007 said in a statement. “Our thoughts are with her family and friends.”

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Auger, born Claudine Oger, was a French star who first won the Miss France pageant in 1958 and was the runner up for Miss World that same year. She studied dramatic acting at the Conservatory in Paris and made her uncredited film debut in 1958 in a film called “Christine.” She was then discovered by the French auteur Jean Cocteau and appeared in his film “Testament of Orpheus” in 1960. She would later star in films such as “The Iron Mask” and “In the French Style.”

Though the part of Domino was originally written as an Italian woman, Auger met “Thunderball” producer Kevin McClory while on vacation in Nassau, and McClory rewrote the part to better fit Auger’s strengths.

Since her Bond days, Auger became a bigger star in European cinema, including in films and shows such as “Fantastica” and “The Memoirs of Sherlock Holmes.”

It’s with great sadness we have learnt that Claudine Auger, who played Domino Derval in THUNDERBALL (1965), has passed away at the age of 78. Our thoughts are with her family and friends.

— James Bond (@007) December 20, 2019

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French New Wave star Anna Karina, who served as a muse for Jean-Luc Godard and appeared in eight of his films, has died. She was 79. France’s culture minister, Franck Reister, announced her death in a tweet, as did her agent, Laurent Balandras, who attributed the cause as cancer. “Her gaze was the gaze of […] | 12/15/19

Anna Karina, the Danish-born star of classic French New Wave films of the 1960s such as “A Woman Is a Woman” and “Alphaville,” died on Saturday at age 79.

Her agent, Laurent Balandras, tweeted that she died of cancer.

“Today, French cinema has been orphaned,” Franck Riester, France’s culture minister, wrote in his own tweet. “It has lost one of its legends.”

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Karina landed her first film role as a teenager in Jean-Luc Godard’s “The Little Soldier,” a drama about the French-Algerian War that was shot in 1960 but not released until three years later due to censorship issues.

In 1961, she won the best actress award at the Berlin Film Festival for her work playing a French striptease artist in Godard’s 1961 film “A Woman Is a Woman.”

By that time, she had also married Godard — with whom she continued to work on classic New Wave films such as “My Live to Live,” “Band of Outsiders,” “Pierrot le Fou” and “Alphaville.”

After their divorce in 1967, Karina went on to act three dozen other films, and even tried her hand at directing with 1973’s “Vivre Ensemble,” about the tempestuous, abusive relationship between a young woman and a history teacher.

Karina was also a singer and novelist, recording an album and writing four books during her career.

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Whether a curse or a blessing, “May you live in interesting times” certainly applies to the LGBTQ community — the past decade saw the legalization of same-sex marriages and the end of the military’s “don’t ask, don’t tell” policy, but every advancement has been met with pushback and threats to overturn equal protections under the law. Trans characters (played, for a change, by trans performers) got their largest public spotlight on television shows like “Pose” and “Transparent,” while at the same time they remain the targets of violence and of hysterical and reactionary lawmakers. Whatever triumphs and travails the community faced in day-to-day life, their lives and loves continued to be reflected on the big screen; here are some of the decade’s greatest examples, listed alphabetically.

Runners-Up: “1985,” “Appropriate Behavior,” “Booksmart,” “BPM,” “Cola de Mono,” “Drunktown’s Finest,” “Kiki,” “Love, Simon,” “Paris 05:59 Théo & Hugo,” “Portrait of a Lady on Fire”

“Call Me By Your Name” and “Carol” (2017/2015)
One was set in the relatively permissive 1980s and the other in the restrictive 1950s, but both films were gorgeous portraits of aching longing and rapturous passion among the wealthy and artistic. These were lush dramas that scratched an old-movie itch while taking a very contemporary look at same-sex relationships.

“Concussion” (2015)
This unpredictable tale of a lesbian housewife shaking off the suburbs for sophisticated sex work had the erotic moxie of “Belle de Jour” and the knowing, arch qualities of “The Stepford Wives,” but it also represented the arrival of an important new voice — writer-director Stacie Passon, making one of the decade’s most exciting debuts.

“The Handmaiden” (2016)
Park Chan-wook transferred Sarah Waters’ novel “Fingersmith” from Victorian England to Japanese-occupied Korea, but the psychological gamesmanship and breathless lesbian eroticism remained intact. Boasting gorgeous production values and a script where characters are constantly gaining and losing the upper hand, this was a riveting thriller that took queer relationships as a given, even in what we think of as the buttoned-down olden times.

“How to Survive a Plague” (2012)
David France’s incredibly vital piece of activist cinema documented the rise of ACT UP in New York City in the 1980s, and how the members of that group fought the system — before, essentially, taking it over themselves — as the U.S. government and pharmaceutical industry turned its back on people with HIV and AIDS. It’s one of the great “yes, you can fight city hall” documentaries ever made.

“Moonlight” (2016)
The subtle ways in which children come to understand — and are taught to be afraid of — their true selves, and the obstacles for adults seeking to overcome a lifetime of negative messaging are just some of the threads that weave their way through this gorgeous tapestry of a life, as portrayed brilliantly by three actors and captured by writer Tarell Alvin McCraney and director Barry Jenkins.

“Pain and Glory” (2019)
Legendary filmmaker Pedro Almodóvar offered some of his most tenderly romantic moments late in this autobiographical film, as director Salvador (Antonio Banderas) has an unexpected reunion, decades later, with his onetime lover. In just a few scenes, the two convey the depth and breadth of a relationship, from beginning to inevitable end, and it helps provide the full picture of Salvador, an artist whose past provides the possibility of unlocking his creative block.

“Take Me to the River” (2014)
What starts out as a dark comedy about a gay California teenager forced to attend a family reunion in Nebraska unfurls into an unsettling thriller about family secrets and unresolved longings. Writer-director Matt Sobel subtly but inexorably tightens the vise, and it’s not until the closing credits roll that you allow yourself to exhale fully again.

“Tangerine” (2015)
A Christmas Eve in the lives of two trans sex workers (played memorably by Mya Taylor and Kitana Kiki Rodriguez) provides a glimpse into both the grind of their day-to-day existence and their hopes and dreams. The leads consulted on the script, and the results are both quotidian and poetic.

“Weekend” (2011)
Writer-director Andrew Haigh (“45 Years”) starts with a simple premise — two guys meet and hit it off, just as one of them is about to leave the country — and turns it into a riveting two-hander, with Tom Cullen and Chris New capturing those moments of connection and curiosity and chemistry that mark the beginning of every new relationship, even as we know this one will end before it can even really start. | 12/13/19

In the latter years of her filmmaking career, Agnès Varda — a giant of the French New Wave of the 1960s — integrated herself more and more into her work, becoming a central character in acclaimed documentaries like “The Gleaners and I” and “Faces Places,” not to mention the autobiographical “The Beaches of Agnès,” which she made to mark her 80th birthday.

As someone accustomed to telling the story of her life on film, it’s not surprising that she ended her career by creating her own memorial: “Varda by Agnès” premiered at the 2019 Berlinale, just one month before she died at the age of 90. This final film acts as a perfect button to a legendary life in art, and it’s also a launchpad to viewers who want to go back and explore her groundbreaking contributions to the cinema.

Structurally, “Varda by Agnès” is built upon a series of lectures she gave, showing clips from her work and occasionally bringing out collaborators like “Vagabond” star Sandrine Bonnaire — she and Varda have a conversation under umbrellas in the middle of one of the film’s rural fields — or cinematographer Nurith Aviv, who shot several of Varda’s 1970s documentaries.

Also Read: Agnès Varda Appreciation: She Had Endless Curiosity About People and Filmmaking, And It Shows

But the film is edited so masterfully by Varda and Nicolas Longinotti that it never feels stagebound; we’re constantly being whisked away to one of her narrative features, or learning the inspiration behind various documentaries, or suddenly finding ourselves in Los Angeles, where she made several films (including “Murs Murs” and a documentary about the Black Panthers). We also get to witness the creation of some of the many gallery installations that Varda created in the latter portion of her career.

It’s her work creating multi-media installations that will no doubt be a revelation to many; if you weren’t lucky enough to be in a city with a museum that brought in Varda’s artwork – including a “cabane du cinéma,” a steel framework of a house where the walls and roof were made of strips of 35mm film from one of her features – this film offers a fascinating glimpse at various larger pieces she created.

Also Read: Agnes Varda, French New Wave Film Director, Dies at 90

We also get a look at her photography, another facet of her talent that directly and indirectly plays a key role throughout her life; she seems as proud and interested of her shots of neighbors and passersby on the street as she is of her portraits of Le Corbusier and Fidel Castro.

This is by no means a dry recitation of “and then I made this,” since Varda leaps back and forth in time, reminded of an older movie by one of her more recent ones, and vice versa. Anyone who has seen her recent films knows that she is a fascinating presence on camera, warm and funny, insightful and perceptive.

Also Read: Agnes Varda Remembered As Influential Director Who 'Lived Fully for Every Moment'

And, true to the discussions in her film “One Sings, the Other Doesn’t,” about the added domestic labor expected of working women, here she only glancingly mentions her husband, fellow filmmaking legend Jacques Demy, or their children, usually only when they were directly involved in her work. They are important in her life, to be sure, but this film is about her life in art. She does discuss making the biographical “Jacquot” while Demy was dying, but doesn’t talk about her Herculean efforts toward the preservation and restoration of his filmography, as well as her own.

“Varda by Agnès” makes a fascinating roadmap to a life and to a career in art, offering inspiration both for viewers and for fellow creators. And if it also prompts more directors over the age of 80 to write their own cinematic eulogies, so much the better.

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French premium format movie company ICE Theaters is expanding into the U.S. with its first location at Regal/AEG’s L.A. Live cinema, which will open December 12 with the release of Sony’s “Jumanji: The Next Level.”

Launching in Europe in 2016, the ICE format — short for Immersive Cinema Experience — boasts non-reflective LED panels that match the color palette of the feature film and fill the audience’s peripheral vision. Luxury recliners surround sound technology and RGB laser projection are also included in the format.

Also Read: Nick Jonas Rides In to Save the Day in Latest 'Jumanji: The Next Level' Trailer (Video)

CGR Cinemas, the French exhibitor that first introduced the ICE format, said that the 35 locations in France that have an ICE theater, box office revenue for films supported by the format doubled those of standard screens. The L.A. Live location is the first ICE theater opened outside of France, with locations planned for theaters in Saudi Arabia and Northern Africa through a deal with VOX Cinemas.

ICE Theaters is entering the American premium format market at a time when more audiences are giving premium large formats (PLF) like 4DX and ScreenX a try when going to see major blockbusters. The top PLF company, IMAX, reports that it is on pace for its highest global annual grosses ever in 2019 thanks to blockbusters like “Avengers: Endgame” and the release of “Star Wars: The Rise of Skywalker” later this month.

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Spyglass Media and Eagle Pictures have teamed up to produce an English-language adaptation of Paolo Genovese’s Italian film “Perfetti Sconosciuti,” with “Insecure” star and co-creator Issa Rae attached to write, produce and star in the comedy.

The film, “Perfect Strangers,” centers around a dinner party in which a group of friends decide to play a risky game where they place their phones face-up on the table and agree to make all texts and phone calls public in an attempt to prove they have nothing to hide. The film takes a comedic approach to dealing with the friendship, love and betrayal that forces the friends to confront the fact that they may actually be “perfect strangers.”

“I’m really looking forward to bringing this funny and compelling story to a new demographic and could not be happier about partnering with the Spyglass team to make it happen,” Rae said in a statement. “I loved the original film and think the story will resonate with audiences here as well.”

Also Read: Issa Rae to Produce Reimagining of 'Set It Off' for New Line

The original Italian version, “Perfetti Sconosciuti,” was released in 2016. A number of local-language remakes followed the film’s initial release, including in China, Spain, Russia, France, and Korea. The Italian film won two David di Donatello Awards for best film and best screenplay as well as the best screenplay for an International Narrative Feature at the Tribeca Film Festival.

Spyglass is banking that Rae, who has become one of Hollywood’s premiere creators, will bring her signature style to the adaptation. Rae has received critical praise, including Emmy and Golden Globe nominations for her HBO series, “Insecure,” which is set to return in 2020.

“Issa is the perfect choice to adapt Paolo Genovese’s brilliant film given her bold and comedic authenticity,” Spyglass’s vice president of development and production Chris Stone said in a statement. “As one of the most sought-after creative talents, we are excited to see Issa’s vision come to life.”

Also Read: Spyglass TV Nabs Stephen King's 'The Institute' With David E Kelley and Jack Bender Attached

Rae will next star in Universal’s romantic drama, “The Photograph,” which is set to hit theaters in February 2020. She’ll also star in the 2020 romantic comedy  “Lovebirds” with Kumail Nanjiani.

Principal photography on “Perfect Strangers” is expected to start in the early part of next year. The film is being produced by Spyglass and Eagle Pictures, as well as 3 Marys Entertainment, alongside Rae.

Issa Rae Productions’ Montrel McKay will executive produce. Chris Stone will oversee production on behalf of Spyglass and Tarak Ben Ammar, chairman and owner of Eagle Pictures, will oversee the film on behalf of Eagle.

“I am proud to be working alongside our partners at Spyglass and the immensely talented Issa Rae on this socially resonant and provocative comedy that not only became a success in Europe,  but went on to capture the attention of audiences around the globe,” Ben Ammar said in a statement.

Also Read: David S Goyer to Write and Produce Clive Barker's 'Hellraiser' Redo for Spyglass

Spyglass was launched earlier this year by former MGM CEO Gary Barber, in partnership with Lantern Entertainment co-presidents Andy Mitchell and Milos Brajovic. Lantern recently bought the assets of The Weinstein Co. out of bankruptcy, making Spyglass now the home to more than 250 film library titles, scripted and unscripted TV series, such as “Project Runway,” as well as Academy Award winners “The King’s Speech” and “The Artist,” and box office hits “Inglourious Basterds,” “Silver Linings Playbook,” “The Hateful Eight” and “Django Unchained.”

Spyglass has strategic investment backing from Warner Bros, Eagle Pictures; the largest independent distributor in Italy, and Cineworld Group.

Rae is represented by UTA, 3 Arts Entertainment and attorney John Meigs.

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"Will other women come forward?" Metropolitan Films from France has released a third (and likely final) trailer for the movie Bombshell, opening in US theaters later in December, coming up in just a few more weeks. This is the film about the few brave women who decide to take on Fox News boss Roger Ailes and the toxic male culture he presided over at the propaganda network. Based on the true story, the actual real-world scandal, and how it all went down. Early word so far about this movie is good, very good. Bombshell stars Charlize Theron as Megyn, Nicole Kidman as Gretchen, Margot Robbie as Kayla, plus John Lithgow, Kate McKinnon, Connie Britton, Mark Duplass, Rob Delaney, Malcolm McDowell, and Allison Janney. Looks like an even more provocative, spunky Spotlight with a dash of The Big Short. Here's the newest international trailer for Jay Roach's Bombshell, direct from Metropolitan's YouTube: You can still watch the first teaser trailer for Jay Roach's ...

It’s that time of year, as voters head off on a long weekend with stacks of newly arrived screeners and one big question: Which film should I share with the family over Thanksgiving weekend? The kids could go for “Frozen II,” the adults will get a kick out of “Dolemite Is My Name” and you might find some middle ground with “A Beautiful Day in the Neighborhood.”

But then there’s “1917,” which actually arrived in the mail for some voters on Tuesday, three days after its first screenings and weeks before its theatrical release. Would you dare watch that epic on a TV set?

While Academy and guild member ponder those questions, here are 10 things I’m thankful for this awards season.

1. The field is now set.
It’s true we haven’t seen everything yet. Among big movies that could conceivably figure in the awards race, particularly in categories like music, visual effects and sound, we still have “Cats” and “Star Wars: The Rise of Skywalker.”

But the last “Star Wars” movie to be nominated for Best Picture was the first one, and “Cats” is, well, “Cats.” So I’m going to figure that we’ve now seen everything that’s really in contention, that the smashing unveiling of “1917” over the weekend was the last hurrah for major Oscar contenders. And I’m going to be thankful for that.

Also Read: New 'Cats' Trailer: Judi Dench, James Corden and Jason Derulo Are Ready to Dance on 'A Magical Night' (Video)

“1917” / Universal Pictures

2. We don’t know what’s going to happen.
Uncertainty is good for an Oscar race, and we definitely have it this year. “1917” is great and will receive loads of craft nominations, but it’s a war movie — is it too divisive to win? Will the three-and-a-half-hour length of “The Irishman” work against it when voters pop in the screener? Can Sony find a way to give “Once Upon a Time … in Hollywood” some awards momentum months after it opened? Can “Parasite” legitimately contend for Best Picture when voters can easily give it Best International Feature and feel as if they’ve honored it enough?

I don’t know the answers to those questions, and I don’t think anybody else does, either. And that’s good.

3. It’s another strong year for international cinema.
Yes, lots of attention has gone to the disqualification of two films from the Oscars Best International Feature race, though the fuss over the ineligibility of “Lionheart” and “Joy” shouldn’t have been “Should the Academy have disqualified them?” (under existing rules, it had to) but “Should the rules be changed for next year?” (The answer to that one is no: Admitting English-language films to the race will hurt small countries, not help them.)

Despite that furor, 2019 has been a strong year for movies that aren’t in English. South Korean director Bong Joon Ho’s “Parasite,” of course, is the monster in the race, but it’s hardly the only one that will be looking to compete in mainstream Oscar categories. Pedro Almodóvar’s “Pain and Glory” is magnificent, with Antonio Banderas deserving widespread recognition for his performance as a director who isn’t Almodóvar but is a lot like him. “Les Misérables” and “Atlantics” are getting lots of attention as well, and so is “Portrait of a Lady on Fire,” which isn’t France’s Oscar submission (“Les Mis” is) but nonetheless warrants notice.

Last year, 14 of the 24 Oscar categories included at least one nominee not in English. And maybe the Academy has truly gotten so accepting of international cinema — and so international in the makeup of its membership — that something similar could happen this year.

Also Read: 'Les Misérables' Director Ladj Ly on Gritty Paris Drama's Real-Life Inspirations

“Uncut Gems” / A24

4. Indie directors are stepping up and getting recognized.
Robert Eggers had only made one horror movie before “The Lighthouse.” The Safdie brothers were indie darlings before “Uncut Gems.” Marielle Heller came out of Sundance and “The Diary of a Teenage Girl” before working with Melissa McCarthy (on last year’s “Can You Ever Forgive Me?”) and now with Tom Hanks on “A Beautiful Day in the Neighborhood.” Noah Baumbach was a quintessential New York indie director before slowly building up to “Marriage Story,” and “Little Women” auteur Greta Gerwig was a mumblecore queen not too long ago.

There’s a lot of vitality in this year’s films, and much of it is coming from filmmakers who have come from the indie world. Standing alongside Scorsese and Tarantino, they’ve given 2019 a shot of energy.

5. Real supporting actors are out there if you look hard enough.
If you look at the Oscar race for Best Supporting Actor, you can be forgiven for thinking that the Academy has arrived at a very loose definition of the word supporting. Brad Pitt in “Once Upon a Time … in Hollywood,” Al Pacino and Joe Pesci in “The Irishman,” Tom Hanks in “A Beautiful Day in the Neighborhood,” Willem Dafoe in “The Lighthouse” and Anthony Hopkins in “The Two Popes” are really co-leads who are being campaigned in the supporting category to improve their chances and because there’s another guy in their movie with a marginally bigger role.

And they’re all great, but can we take a moment to be thankful for actors who really serve a supporting role in their films? I’m thinking of Wesley Snipes in “Dolemite Is My Name,” Alan Alda in “Marriage Story,” Aldis Hodge in “Clemency,” Rob Morgan in “Just Mercy” and Song Kang-ho in “Parasite,” though there are plenty of other options as well. (Kyle Buchanan had his own list in the New York Times last week.)

One thing for the quasi-supporting frontrunners to not be thankful for: the note on Oscar acting ballots that tells voters to put a performance in whatever category they think fits, regardless of how a performance is being campaigned. But truth be told, voters usually go along with the campaigners’ suggestions.

Also Read: 'Parasite' Director Bong Joon Ho and Cast OscarWrap Portraits (Exclusive Photos)


6. Joe Pesci is back.
I don’t know if he’s lead or supporting in “The Irishman.” I just know that he hadn’t been in a movie in years when Martin Scorsese talked him into appearing alongside Robert De Niro, Al Pacino and Harvey Keitel in his new film. And I know that the guy known for playing loudmouths and loose cannons dialed it down and delivered an unforgettably quiet but sinister performance that might just be the best thing in the movie.

So thanks, Joe. And thanks for talking him out of retirement, Marty.

7. Terrence Malick is back, too.
He never actually left; in fact, the veteran director has made more movies in the past decade, six, than in the previous 37 years combined, when he made four. (And his 2010s total is seven if you count the two different versions of his documentary “Voyage of Time.”)

But his new movie, “A Hidden Life,” still feels like a comeback of sorts. It feels as if I’m damning it with faint praise to say it’s his best film since “The Tree of Life” (although I really liked the longer version of “Voyage of Time”), but it’s far more than that: It’s prime Malick, a rapturous reverie that is also tied to a stronger storyline than he’s had in years. And it feels like a true gift from a master.

Also Read: 'A Hidden Life' Stars Valerie Pachner and August Diehl on the Full Immersion of a Terrence Malick Film | Video


8. Lina Wertmüller is still around.
The Italian director of “The Seduction of Mimi,” “Swept Away” and “Seven Beauties,” the last of which made her the first woman ever nominated for Best Director, is now 91. She is also funny and feisty, as became clear when she appeared at the Academy’s Governors Awards in October to accept an Honorary Academy Award. On a night that also honored David Lynch, Geena Davis and Wes Studi, Wertmüller was the undisputed queen of one of the best, loosest and most spirited Governors Awards ceremonies ever.

Let’s hope she makes a return trip to the Oscars in February to renew her complaint that the Oscar is a male figure and to continue her lobbying for a female counterpart, the Anna.

Also Read: 91-Year-Old Lina Wertmuller Steals the Show at Oscars Governors Awards

9. Major studios are not just in the franchise business.
“Once Upon a Time … in Hollywood,” “Little Women” and “A Beautiful Day in the Neighborhood” were released by Sony. “1917” is from Universal, which won the Oscar last year with “Green Book.” “Ford v Ferrari” was made for Fox, which now places it in the Disney family. “Joker” and “Motherless Brooklyn” are from Warner Bros., “Rocketman” from Paramount.

Yes, Netflix is at the center of this year’s awards races with “The Irishman,” “The Two Popes,” “Marriage Story” and “Dolemite,” and indie distributors like Neon (“Parasite”) and A24 (“The Farewell,” “Uncut Gems,” “The Lighthouse”) are in the thick of the competition as well. But at a time when major studios are often accused of doing nothing but commissioning sequels and riding franchises, it’s nice to see that the majors still have a significant stake in the awards business, too.


10. It’ll be over sooner than usual.
It was hard to be thankful for this year’s earliest-ever Oscars date back in October, when the race suddenly heated up earlier than usual. It’ll be really hard to feel much appreciation for the shortened season on Jan. 7, when the Directors Guild, Producers Guild and BAFTA all announce their nominations, or on Jan. 25, when five different awards shows will take place simultaneously on the first Saturday of the Sundance Film Festival.

But on Feb. 10, the day after the Academy Awards take place, it’ll be easy to thank the Academy for a shorter season, and for a vacation that will arrive two weeks earlier than usual.

So while I’m not exactly thankful for the accelerated season now, I’m looking forward to being thankful for it later.

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“Frozen II,” Disney’s follow-up to the pop culture phenomenon “Frozen” from 2013, brought in $8.5 million at the box office in Thursday night previews beginning at 6 p.m. It opens on over 4,300 screens this weekend.

The fall box office is finally set to heat up with the arrival of “Frozen II,” which the studio is projecting for an opening in the $100 million range, with trackers saying it should land between $105-115 million, though it could rise to $130 million if the excitement is as high as some trackers suspect. It opens opposite “A Beautiful Day in the Neighborhood,” which stars Tom Hanks as Mister Rogers, and the thriller “21 Bridges” starring Chadwick Boseman, both of which go wide in the last weekend before Thanksgiving.

“Frozen II” already soared past all-time records for animated films in pre-sales on the ticketing site Fandango. So the comp to watch is “Incredibles 2,” which hit a Thursday preview record for an animated film when it made $18.5 million in its Thursday previews last summer ahead of a $183 million opening weekend total. But it landed closer to “Finding Dory,” which was the previous animation record-holder and did $9 million in previews before opening to $135 million.

Also Read: How 'Frozen II' Songwriters Stopped Thinking About 'Let It Go' to Write Songs for the Sequel

You could also look at Disney Animation’s “Zootopia,” which did just $1.7 million in previews and opened to $75 million, or for a more recent comp, “Toy Story 4” made $12 million and opened to $120.9 million domestically. The comparisons to both “Moana” and “Ralph Breaks the Internet,” the other two recent Disney Animation titles, is more difficult seeing as Disney moved up the release of “Frozen II” to a week ahead of the Thanksgiving holiday.

Internationally, “Frozen II” also opened to $18.6 million across 26 markets and was the number one title in all of them. It also posted the highest animated opening day of all-time in Korea, Indonesia, Turkey, Philippines, Malaysia, Saudi Arabia and the United Arab Emirates. So far the key markets it has opened in include Korea, France and Germany.

Anna, Elsa, Olaf, Kristoff and Sven are back for another animated adventure in the Kingdom of Arendelle, as the group travels to a hidden, magical forest that may contain secrets about their past and hold the key to saving Arendelle’s future.

“Frozen II” is directed by Chris Buck and Jennifer Lee, and Kirsten Bell, Idina Menzel, Jonathan Groff, Josh Gad all returned to the voice cast. The film’s newcomers are Evan Rachel Wood, Sterling K. Brown, Jason Segel, Martha Plimpton, Ciarán Hinds, Rachel Matthews and Alfred Molina. Critics have been somewhat more muted on the new “Frozen,” as the film has a 77 percent fresh score on Rotten Tomatoes, compared to the original’s 90 percent. However, it still has a 94% verified audience score from Rotten Tomatoes and a 4.5 out of 5-star rating from ComScore’s PostTrak ratings system among general audiences and kids.

Also Read: 'Frozen II' Film Review: Elsa Belts Again in Entertaining, Unnecessary Sequel

“A Beautiful Day in the Neighborhood,” which is based on a true story surrounding the life of Fred Rogers, made $900,000 at the Thursday box office from 2,865 screens at previews beginning at 4:30 p.m.

Sony Pictures is releasing the Mister Rogers movie starring Tom Hanks and Matthew Rhys and is projecting an opening of $14 million, with independent trackers saying it could go to between $17-20 million. The film is a mid-budget movie and an awards hopeful for Hanks especially.

“Can You Ever Forgive Me?” director Marielle Heller helms the story of a jaded journalist at Esquire magazine in the 1990s who is assigned to write a profile on Mister Rogers and finds his life transformed by Rogers’ sincerity and charm. It currently has a 97% score on Rotten Tomatoes and should perform well into the Thanksgiving holiday.

Also Read: Tom Hanks Had to Chill 'Boisterous' Charm to Play Mister Rogers, Movie Director Says

Finally, STXfilms’ “21 Bridges” starring Chadwick Boseman made $700,000 in its Thursday night previews. It opens on 2,665 screens this weekend. Comparisons include “Widows,” which took in $572,500 before opening to $12.3 million, or Focus Features’ “Harriet” from earlier this month, which had $600,000 in previews and opened to $11.6 million.

It is a mid-budget movie of approximately $33 million that’s poised to open between $12-14 million. STX is hoping to cash in on the pedigree of “Avengers: Endgame” directors Anthony and Joe Russo, who produced the thriller that features “Black Panther” star Boseman.

Boseman plays a detective in New York who puts the entire city on lockdown in order to track two suspected cop killers (Stephan James and Taylor Kitsch). Sienna Miller, Keith David, and J. K. Simmons also star in the film, which is directed by Brian Kirk from a script by Matthew Michael Carnahan and Adam Mervis. The film is a production of STXfilms, MWM Studios and Huayi Brothers Pictures.

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A version of this story about “The Whistlers” first appeared in the International Film issue of TheWrap’s Oscar magazine.

Director Corneliu Porumboiu was a central member of the influential New Romanian Cinema, which has shockingly been completely ignored by Oscar voters. His new film, “The Whistlers,” is his second to represent that country in the Oscar race after his deadpan, talky 2009 film “Police, Adjective.” Porumboiu discussed his new movie, a wry film noir about a detective on one of the Canary Islands, where the residents have perfected a language that consists entirely of whistling.

I know this film was inspired when you saw something on TV about the whistling language on the island of La Gomera, but how did you get from that to this particular story?
It took 10 years. It was TV reportage about the island, and at one point they showed something about the whistling language. I got interested right away. I had just finished “Police, Adjective,” and after that I start to read things about the language. After two or three years I spoke with a friend of mine who was on the island who knew some teachers, and I went to the island and I saw the classes where they teach the language.

I was all the time interested to have in the center of the film the process of whistling. I wanted to make a film about a guy who was going to learn the language to do something bad, and after that this language became more important to him. All the time I was thinking, “Let’s do this film with this second character from ‘Police, Adjective’ — someone who in his ideology can’t last.”

Also Read: 'The Whistlers' Film Review: Romanian Wild Ride Runs on Black Humor

Was it always clear that this was going to be a genre movie, a film noir?
When I decided to make a movie about people double-crossing each other, I said, “OK, I have to re-see noir films.” “The Big Sleep,” I like a lot. Also “The Maltese Falcon,” “Gilda,” “Double Indemnity,” “The Third Man,” “Notorious,” “The Night of the Hunter” … But I think “The Big Sleep,” mostly, because I wanted the story to be quite messy in the middle for the audience. The character thinks all the time that he’s in control, but he’s not. And maybe the whistling language could clarify things for him.

The film can be very funny, but it’s a deadpan, dry humor.
I had some funny dialogue scenes that I cut. The first draft was 40 minutes longer, and I took out a lot of scenes. Trying to keep a certain type of structure, to be more with action, I had to cut. So I had quite good dialogue scenes of humor that I cut. I’ll use them in another film.

Also Read: Oscars International Race 2019: Complete List of Films

This was your biggest budget film. Did you run into challenges because of its scale?
Yes, yes. We shot in Spain, but we didn’t find the money there. We found money in Germany, Romania, France and Sweden, and I had to do parts of the film or the postproduction in all those countries. Of course that brought new challenges. And also, it was the first time I had fighting scenes and shootouts, but I liked to do that.

Does it seem as crazy to you as it does to some of us that Romania has never even been nominated for an Oscar in the international category?
Yeah, I don’t know, I think the Romanian cinema in the last 15 years is quite present in festivals and all around the world, but I don’t know. For me, it’s my second time as the Romanian submission. That first one, “Police, Adjective,” I think was quite hard to be nominated. Let’s see with this one.

Read more from the International Film issue of TheWrap’s Oscar magazine.

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This weekend saw “Joker” become the first movie with an R rating to gross $1 billion at the box office. That alone is enough to immortalize it in the comic book movie canon. But when compared to some of the big DC and Marvel tentpoles that have defined the movie ecosystem over the past few years, it’s amazing how Gotham City’s most infamous villain has beaten the superheroes at their own game.

To show just how special “Joker”‘s box office run has been, we have compared its domestic and overseas performance to a small sample of comic book movies that it has passed on the all-time charts:

– “Justice League,” a film featuring all of DC’s biggest superheroes

– “Batman v Superman: Dawn of Justice,” a DC film with a similarly dark tone to “Joker”

– “Suicide Squad,” the last DC film to feature a version of the Joker

– and “Thor: Ragnarok,” a Marvel film released in autumn that was a hit with audiences.

Also Read: Why 'Joker' Has Outperformed All Other R-Rated Films at the Box Office

Against those four films, “Joker” had an $96.2 million opening well below that of the latter three and only slightly above the $93.8 million start of “Justice League.” But as you can see in the chart below, “Joker” has lasted longer with audiences than any of those films and is on the verge of passing the entire domestic run of “BvS.”

This is partly because “Joker” has taken advantage of weak competition. Films like “Maleficent: Mistress of Evil” and “Terminator: Dark Fate” haven’t made a big splash with audiences, allowing “Joker” to sustain its status as the sole can’t-miss film a lot longer than our current, content-overloaded pop culture allows a lot of movies to have.

But of course, that required “Joker” to strike a chord loud enough to have such can’t-miss status to begin with. As we noted last month, “Joker” was able to hit that increasingly rare sweet spot between pop culture phenomenon and critical darling. Its big Venice win and fears of triggering real life violence kicked pre-release buzz into overdrive, and the overwhelmingly strong response from the usual comic book movie crowd spilled over into the general moviegoing populace, allowing it to linger in the top 5 for over a month.

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But that’s only half of the story. What makes “Joker” a truly special box office hit is that unlike many of its comic book brethren, it grossed $1 billion without the aid of China.

Instead, it vastly overperformed in many other major markets, showing the same kind of long-lasting performance all over the world that it did in the U.S.. In the next chart, you can see how “Joker” and the four films we chose stacked up in “Joker”‘s five highest grossing international markets: United Kingdom, Mexico, Japan, France and Germany.

Not only does “Joker” have totals that dwarf those of all the others — including $70 million in the U.K. — it also beat the other DC film that grossed $1 billion in the past year: “Aquaman.”

With “Frozen II” kicking off the holiday movie season early next weekend, it’s likely that “Joker” will see its final global total fall short of the $1.14 billion that “Aquaman” grossed last winter. But even if that happens, it’s only because “Aquaman” had a Chinese release and “Joker” didn’t. Take away the $291 million that “Aquaman” grossed in the Middle Kingdom, and its global total drops down to $857 million.

It’s difficult to say whether “Joker” can become a trendsetter when it comes to comic book movies, but it certainly has pushed the boundaries on what can be done with the genre and what global audiences will respond to.

Also Read: 'Joker' Takes R-Rated Box Office Record...and Possibly Another No. 1 Weekend

Following the critical disappointment of “Batman v Superman” and “Justice League,” much discussion was had about the “grimdark” tone that DC Films was using towards its superheroes. But while films like “Wonder Woman” and “Shazam!” have pushed the heroes in a more hopeful direction, a “grimdark,” Scorsese-inspired tale about a DC villain was embraced by audiences as something unique and fresh.

And unlike the other $1 billion-plus superhero hits — even the “Avengers” films — “Joker” did it all on a mid-sized budget. With a production cost reported to be in between $55-70 million, “Joker” has provided Warner Bros. with one of the biggest returns on investment in blockbuster history. Even as other WB films like “The Kitchen,” “Motherless Brooklyn” and “Doctor Sleep” have flopped this autumn, “Joker” has joined forces with “It: Chapter Two” to erase any financial losses those films may have incurred.

It may be a good while before we see a box office run from an R-rated film like this again.

Related stories from TheWrap:

'Joker' Crosses $1 Billion at Global Box Office

Why 'Joker' Has Outperformed All Other R-Rated Films at the Box Office

'Justice League': Gal Gadot, Ben Affleck Join Call to #ReleaseTheSnyderCut | 11/18/19

This Veterans Day, take a moment to honor someone who took the time out to serve our country in the military. And barring that, watch a film or show featuring one of these Hollywood stars who will most definitely be celebrating Veterans Day on Monday. Some of the actors on this list have military careers that date all the way back to World War II. And while this list excludes celebrities who have passed away, including people like James Stewart, Elvis Presley and Bea Arthur, there’s more than enough patriotism on this list to go around.

Adam Driver

Adam Driver joined up in the Marines shortly after 9/11 and served for two years and eight months before being medically discharged after suffering a mountain biking accident. He was assigned to Weapons Company, 1st Battalian, 1st Marines. And though he was never deployed, he did get a nickname from his fellow Marines: “Ears Two.” He explained to Stephen Colbert that he was one of two guys in his battalion with big ears, but that he avoided most of the verbal ridicule. He told The Guardian how serving changed his outlook on life. “There’s something about going into the military and having all of your identity and possessions stripped away: that whole clarity of purpose thing. It becomes very clear to you, when you get your freedom back, that there’s stuff you want to do.”

Clint Eastwood

Though he’s more well known as a Western cowboy, Clint Eastwood was drafted into the Korean War and served as a lifeguard while training at Fort Ord in California. He was discharged in 1953 and was able to attend acting school during his tenure thanks to the G.I. Bill.

Morgan Freeman

Morgan Freeman actually turned down a partial scholarship for acting and instead opted to join the Air Force. For nearly four years between 1955 to 1959, he served as a radar technician and rose to the rank of Airman 1st Class. He told AARP magazine (via that he felt as though he were sitting “in the nose of a bomb” once he finally trained to fly a fighter plane. “You are not in love with this; you are in love with the idea of this,” Freeman said.

Chuck Norris

Chuck Norris joined the U.S. Air Force as an air policeman beginning in 1958, eventually being sent to Osan Air Base in South Korea. It was there he developed his signature martial arts form, the Chun Kuk Do. He was later discharged in 1962.

Tom Selleck

The “Magnum P.I.” actor Tom Selleck served in the California Army National Guard between 1967 to 1973.


In an effort to support his girlfriend and newly born daughter, Ice-T enlisted in the military to get off the streets and found himself stationed in Hawaii in the 25th Infantry Division between 1977 to 1979. It was there he started meeting people who helped inspire his music career as a rapper.

Tony Bennett

The famed Italian singer Tony Bennett, now in his ’90s, was drafted to serve in World War II in Nov. 1944, and by March of 1945, he was sent to the front line through France and into Germany as part of the 63rd Infantry Division, better known as the “Blood and Fire” division. In his autobiography “The Good Life,” Bennett recalled the experience as having a “front row seat in hell.”

Rob Riggle

Comedian Rob Riggle served in the Marines for 23 years, first joining up in 1990 when he said he would rather be a “Top Gun” pilot than be a waiter. He served in Kosovo, Liberia, Afghanistan and Albania during his time, becoming a decorated lieutenant colonel in the process. And though he wanted to enter into flight school, he realized it would hinder his dream of one day doing comedy. “I stopped flying, became a ground officer, had a short contract, fulfilled my contract and pursued comedy and acting,” Riggle told CBS News. “I stayed in the reserves though and did the reserves for the last 14 years. And I just retired in January from the Marines. This is a great country, you can do it all.”

Robin Quivers

Robin Quivers, a co-host on Howard Stern’s radio show, rose to the rank of captain while enlisted in the U.S. Air Force between 1975 and 1978. She was discharged shortly after, but remained a member of the reserve with no active duty until 1990, according to the biography “Howard Stern: King of All Media.”

Zulay Henao

Colombian-American actress Zulay Henao served three years in the U.S. Army, telling Maxim she joined up right after high school and immediately felt the pressure of basic training at Fort Bragg. “it was miserable. I quickly realized I’d have to change my attitude if I was going to get through it. I’ve always tried to make the most out of my experiences, but that one was tough,” she told Maxim.

Kirk Douglas

Kirk Douglas had a brief stint in the U.S. Navy, joining up shortly after America entered World War II, serving on a submarine between 1943 and 1944, according to CNN.

James Earl Jones

Though he was recruited during the most active time during the Korean War and eventually to the rank of first lieutenant, James Earl Jones was stationed at a cold-weather training command base in Leadville, Colorado beginning in 1953.

Gene Hackman

Gene Hackman said on an episode of “Inside the Actors’ Studio” that when he was 16, he lied about his age and enlisted in the marine corps in 1946. He spent four and a half years as a field radio operator and was stationed in China for a time before being assigned to Hawaii and Japan.

Mel Brooks

The comedy legend Mel Brooks served in World War II as a combat engineer, defusing land mines as a corporal in the 1104 Engineer Combat Division. “I was a combat engineer. Isn’t that ridiculous? The two things I hate most in the world are combat and engineering,” Brooks joked to “War isn’t hell… War is loud. Much too noisy. All those shells and bombs going off all around you. Never mind death. A man could lose his hearing.”

Robert Duvall

Robert Duvall may be known for his Vietnam War movie “Apocalypse Now,” but he did briefly serve in the Army shortly after the Korean War, even acting in plays while stationed in Camp Gordon in Georgia. He served two years and left as a private first class. He did have to clarify the extent of his service however, telling People in 1984 (via, “Some stories have me shooting it out with the Commies from a foxhole over in Frozen Chosen. Pork Chop Hill stuff. Hell, I barely qualified with the M-1 rifle in basic training.”

Drew Carey

Drew Carey still has his crew cut and signature glasses that he first started wearing back in his Marine Corps days when he served as a field radio operator in the 25th Marine Regiment in Ohio. The comedian served for six years and has frequently given back to the military in the form of performances for the USO.


The comedian Sinbad told Ebony magazine that he nearly had a dishonorable discharge for going AWOL while he was serving in the air force as a boom operator, including frequently leaving to perform stand-up comedy and because he failed to make the Air Force basketball team.

Sidney Poitier

Sidney Poitier lied about his age to enlist during World War II and wound up in a VA hospital in Northport, New York, serving for a year before obtaining a discharge in 1944.

Alan Alda

While best known as a military doctor on “M.A.S.H.,” Alda completed a minimum six-month tour of duty in the Korean War as a gunnery officer.

Oliver Stone

Director Oliver Stone’s combat experience in Vietnam directly contributed to his films “Platoon” and “Born on the Fourth of July” that would become staples of his career. Stone served in the Army for over a year between 1967 and 1968 and was even wounded twice in battle. He’s been honored with a Bronze Star with “V” device for heroism in ground combat and a Purple Heart with an Oak Leaf Cluster. | 11/8/19

Magnolia Pictures has acquired the U.S. rights to “About Endlessness,” a Swedish drama from director Roy Andersson, the distributor announced Monday. Magnolia plans to release the film theatrically in 2020.

Andersson, the director of “You, The Living” and “A Pigeon Sat on a Branch Reflecting on Existence,” won Best Director at the Venice International Film Festival where the film made its premiere. It made its North American premiere at TIFF.

His latest film, “About Endlessness,” is a reflection on human life in all its beauty and cruelty, its splendor and banality. We wander, dreamlike, gently guided by our Scheherazade-esque narrator. Inconsequential moments take on the same significance as historical events: a couple floats over a war-torn Cologne; on the way to a birthday party, a father stops to tie his daughter’s shoelaces in the pouring rain; teenage girls dance outside a cafe; a defeated army marches to a prisoner-of-war camp. Simultaneously an ode and a lament, “About Endlessness” presents a kaleidoscope of all that is eternally human, an infinite story of the vulnerability of existence.

Also Read: Participant and Magnolia Acquire Romanian Government Corruption Documentary 'Collective'

Magnolia released Andersson’s previous film, “A Pigeon Sat on a Branch Reflecting on Existence,” in 2015 which emulated the deadpan vignettes of his latest film but was geared more as a comedy.

“Roy Andersson is a cinematic master and he’s crafted another extraordinary film in ‘About Endlessness,'” Magnolia president Eamonn Bowles said in a statement. “We’re honored to be bringing this film to American audiences.”

“I’m so happy that Magnolia will be our U.S. distributor,” Andersson said. “They did a great job releasing my last film, so I’m confident that they will take care of ‘About Endlessness’ in the best possible way. I’m so proud of the new film and very much looking forward to the US release.”

Also Read: 'Joker' Wins Golden Lion, Roman Polanski's 'An Officer and a Spy' Wins Grand Jury Prize at Venice Film Festival

Andersson wrote and directed “About Endlessness.” The movie is a Roy Andersson Filmproduktion AB in co-production with 4 ½ Fiksjon AS, Essential Films, in association with Parisienne de Production, Sveriges Tele-vision AB, Arte France Cinéma, ZDF/Arte, and Film CapitalStockholm Fund.

The film is produced by Pernilla Sandström and Johan Carlsson and co-produced by Philippe Bober and Håkon Øverås. The executive producers are Sarah Nagel and Isabell Wiegand. The film is supported by Swedish Film Institute, Eurimages Council of Europe, Nordisk Film & TV Fund, Norwegian Film Institute, Film-und Medienstiftung NRW, and Medienboard Berlin-Brandenburg.

The deal was negotiated by Magnolia EVP Dori Begley and Magnolia SVP of acquisitions John Von Thaden with CAA Media Finance on behalf of the filmmakers. Coproduction Office is overseeing international sales.

Variety first reported the news of the sale.

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Jon Favreau has given a diplomatic response to the criticism of Marvel by legendary filmmakers Martin Scorsese and Francis Ford Coppola.

“These two guys are my heroes, and they have earned the right to express their opinions,” Favreau told CNBC on Tuesday. “I wouldn’t be doing what I’m doing if they didn’t carve the way. They served as a source of inspiration, you can go all the way back to Swingers. They can express whatever opinion they like.”

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola initially said about Marvel movies.

Also Read: Jeph Loeb to Exit as Head of Marvel Television

The “Apocalypse Now” filmmaker said those harsh words at a press conference after receiving a lifetime achievement award at the Lumiere Festival in Lyon, France. He is currently working on a utopian drama called “Megalopolis,” which he says would be more expensive than “Apocalypse Now” and be “the biggest budget I ever had to work with.”

But big budget Marvel movies draw Coppola’s ire. Speaking to reporters, he echoed Scorsese’s belief that comic book movies don’t reach the level of profound human depth that arthouse cinema does.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” he said. “I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Related stories from TheWrap:

After Coppola Slam, James Gunn Defends Marvel Movies as Cinema (Again)

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Once again, an icon of New Hollywood has panned Marvel movies. And once again, James Gunn has spoken out in defense of them.

The “Guardians of the Galaxy” filmmaker posted an Instagram post in response to Francis Ford Coppola’s comments at the Lumiere Festival in France this weekend. Coppola was asked whether he agreed with Martin Scorsese’s comments that Marvel movies were not cinema, and he went even further than “The Irishman” director went in his criticism.

Also Read: Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola said.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration. I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Gunn did not mention Scorsese or Coppola in his post by name, but did reference the latter’s use of the word “despicable” when noting that superhero films aren’t the first populist genre to receive derision from more artistic filmmakers.

“Many of our grandfathers thought all gangster movies were the same, often calling them ‘despicable,'” he wrote. “Some of our great grandfathers thought the same of westerns, and believed the films of John Ford, Sam Peckinpah, and Sergio Leone were all exactly the same.”

Gunn noted that his great uncle dismissed his excited reaction to “Star Wars” by comparing the iconic blockbuster film to Stanley Kubrick’s far more meditative “2001: A Space Odyssey,” which he called “boring.”

Also Read: James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

“Superheroes are simply today’s gangsters/cowboys/outer space adventurers. Some superhero films are awful, some are beautiful. Like westerns and gangster movies (and before that, just MOVIES), not everyone will be able to appreciate them, even some geniuses. And that’s okay.”

Gunn is currently filming the DC film “The Suicide Squad,” which will be released by Warner Bros. in 2021. After that, he is set to return to Marvel Studios to direct “Guardians of the Galaxy Vol. 3,” which currently has no set release date.

Also Read: Martin Scorsese Calls Out Marvel and Superhero Movies: 'That's Not Cinema'

Coppola, meanwhile, is continuing to work on “Megalopolis,” a utopian drama that he has been developing on-and-off for 20 years, and which he says would require a larger budget than the infamously expensive “Apocalypse Now.”

“I wanted to make a film about a human expression of what really is heaven on earth,” Coppola said this weekend.

“I would say it’s the most ambitious film (I’ve worked on) — more than ‘Apocalypse Now’. That’s the problem.”

Related stories from TheWrap:

Francis Ford Coppola: Scorsese Is Right About 'Despicable' Marvel Films

Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks | 10/20/19

If Marvel fans weren’t happy about Martin Scorsese saying Marvel movies aren’t cinema, they’re really not going to like what Francis Ford Coppola had to say about “Avengers” and its brethren.

“Martin was kind when he said it’s not cinema. He didn’t say it’s despicable, which I just say it is,” Coppola said.

The “Apocalypse Now” filmmaker made those harsh words at a press conference after receiving a lifetime achievement award at the Lumiere Festival in Lyon, France. He is currently working on a utopian drama called “Megalopolis,” which he says would be more expensive than “Apocalypse Now” and be “the biggest budget I ever had to work with.”

Also Read: Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

But big budget Marvel movies draw Coppola’s ire. Speaking to reporters, he echoed Scorsese’s belief that comic book movies don’t reach the level of profound human depth that arthouse cinema does.

“When Martin Scorsese says that the Marvel pictures are not cinema, he’s right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration,” he said. “I don’t know that anyone gets anything out of seeing the same movie over and over again.”

Also Read: James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

This isn’t the first time Coppola has spoken against a major blockbuster franchise. In a 2015 interview during the Marrakech International Film Festival, he lamented that George Lucas ended up dedicating his whole career to “Star Wars” rather than smaller films like his early works “THX 1138” and “American Graffiti.”

“I think ‘Star Wars,’ it’s a pity, because George Lucas was a very experimental crazy guy and he got lost in this big production and never got out of it,” he said.

“I still hope that he made so much money out of it that he will just make some little movies. He promises me that he will.”

Related stories from TheWrap:

Robert Downey Jr Rejects Martin Scorsese's Diss of Marvel Movies as 'Not Cinema': 'Makes No Sense' (Video)

James Gunn 'Saddened' by Martin Scorsese Comparing Marvel Movies to Theme Parks

Martin Scorsese Calls Out Marvel and Superhero Movies: 'That's Not Cinema' | 10/20/19

The nominees for this year’s Streamy Awards were announced Wednesday by Dick Clark Productions, Tubefilter and YouTube. David Dobrik leads the way with 11 nominations and murder-mystery reality web series “Escape the Night: Season 4” follows with five nominations.

Lil Nas X and Lizzo are both nominated for the first time.

The awards specifically celebrate the best in online video. This year’s ceremony, the ninth one, will be held Dec. 13 at the Beverly Hilton in Beverly Hills, California. It will stream live globally on YouTube.

“Creators are the heart and soul of YouTube, so we’re excited to celebrate and honor their creativity, diversity and hard work,” Jamie Byrne, director of creator partnerships at YouTube, said in a statement. “Together with the Streamys, we’ve expanded our award categories to even more regions around the world to bring fans some of the biggest and most unforgettable moments from the past year, all from the creators they love.”

See the full list of nominees below:

Creator of the Year
Collins Key
David Dobrik
Emma Chamberlain
Lilly Singh
Loren Gray
Safiya Nygaard
Simply Nailogical
Tana Mongeau

Show of the Year
Chicken Girls
Escape the Night: Season 4
The Game Master
Good Mythical Morning
Hot Ones
The Philip DeFranco Show
Red Table Talk
Tiny Meat Gang Podcast
The Try Guys


Action or Sci-Fi
Mordeo • CryptTV
Sam and Colby
Super Science Friends
Weird City

Andrei Terbea
Danny Casale

Breakout Creator
Danny Gonzalez
Joana Ceddia
Lizzy Capri

Anwar Jibawi
Gus Johnson
Hannah Stocking
Jack Douglass

The Brave • Great Big Story
BuzzFeed Unsolved Network
The Curse of Don’s Plum • New York Post
The Secret World of Jeffree Star • Shane Dawson
Stonewall: OutLoud • WOWPresents

First Person presented by GoPro HERO8 Black
David Dobrik
Emma Chamberlain
Simply Nailogical
Tana Mongeau

International: Asia Pacific
ACAU Youtube (Korea)
Fischer’s-???????- (Japan)
Kento Bento (Hong Kong)
RackaRacka (Australia)
Ti?n Zombie v4 (Vietnam)

International: Europe, Middle East, and Africa
Fozi Mozi (Palestine)
L’atelier de Roxane (France)
MarkAngelComedy (Nigeria)
Mikecrack (Spain)
Stacia Mar (Russia)

International: Latin America
Camila Loures (Brazil)
Enaldinho (Brazil)
enchufetv (Ecuador)
kevsho (Argentina)
Mis Pastelitos (Mexico)


Indie Series
Beef in Brentwood
Black Girls Guide to Fertility
Damaged Goods • VAM STUDIO
The Feels
Take One Thing Off • Scout Durwood

Scripted Series
Blame The Hero • Brandon Rogers
Chicken Girls • Brat TV
How To Survive a Break Up w/ Eva Gutowski • AwesomenessTV
Two Sides
You Decide • DeStorm Power

Unscripted Series
Escape the Night: Season 4 • Joey Graceffa
I Spent a Day With… • AnthonyPadilla
Middle Ground • Jubilee
Phone Swap
UNHhhh • WOWPresents


Brad Mondo
Jackie Aina
James Charles
Jeffree Star
Nikita Dragun

Kyle Hanagami
Matt Steffanina
Nicole Laeno
WilldaBeast Adams

Koleen Diaz
Sierra Schultzzie
With Love, Leena

Binging with Babish
Food Fears • Good Mythical Morning
Gordon Ramsay
Rosanna Pansino
Worth It • BuzzFeedVideo

The Completionist
The Game Theorists
Girlfriend Reviews

Health and Wellness
Doctor Mike
The Fitness Marshall
Jay Shetty
Kati Morton
Prince Ea

Kids and Family
Chad Wild Clay
Guava Juice
The Holderness Family
JoJo Siwa
The LaBrant Fam

Brent Rivera
Bretman Rock
Niki and Gabi
Rickey Thompson
Safiya Nygaard

Business Insider Today
The Philip DeFranco Show
Some More News
The Young Turks

Pop Culture
Fan Survey • Teen Vogue
Hot Ones • First We Feast
IMDb Me • IMDb
Sneaker Shopping • Complex

Science and Education
Kurzgesagt – In a Nutshell
Mark Rober
Mind Field: Season 3 • Vsauce

Donut Media
Kristopher London
The NBA Storyteller
People Are Awesome

Marques Brownlee
Sara Dietschy
Unbox Therapy


Live Streamer
Twitch Rivals


Breakthrough Artist
Conan Gray
Lewis Capaldi
Lil Nas X
Lil Tecca


H3 Podcast
On Purpose with Jay Shetty
Tiny Meat Gang Podcast
VIEWS with David Dobrik and Jason Nash


Annie LeBlanc – Chicken Girls
Brandon Rogers – Blame The Hero
DeStorm Power – You Decide
Raney Branch – Black Girls Guide to Fertility
Tim Manley – The Feels

David Dobrik and Kylie Jenner – SURPRISING PEOPLE WITH KYLIE JENNER!! • David Dobrik
Molly Burke and Dolan Twins – Blindfolded Skydiving w/ The Dolan Twins! • Molly Burke
PatrickStarrr and Naomi Campbell – NAOMI CAMPBELL MAKEUP TUTORIAL • PatrickStarrr
Rebecca Zamolo and The Game Master Network – World’s Largest YOUTUBE Takeover In REAL LIFE at ViDCON! • Rebecca Zamolo
Sofie Dossi and Matt Steffanina – 7 Rings – Ariana Grande • Sofie Dossi

Ensemble Cast
Escape the Night: Season 4 • Joey Graceffa
The Try Guys
The Valleyfolk
Vlog Squad • David Dobrik


Adam Bianchi, Andrew Ilnyckyj, Steven Lim – Worth It • BuzzFeedVideo
Devin Graham – devinsupertramp
Jake Koehler – DALLMYD
Josh Cassidy – Deep Look
Peter McKinnon – Peter McKinnon

Costume Design
Brandon Rogers – Blame The Hero
Marc Littlejohn – Welcome to Daisyland
Morgan Christensen – Epic Rap Battles of History
Olivia Hines – Escape the Night: Season 4
Samantha Rhodes – Lindsey Stirling

Brandon Rogers – Blame The Hero
Cole Bennett – Lyrical Lemonade
David Dobrik – David Dobrik
Hannah Lehman – Two Sides
Lindsey Stirling, Tom Teller – Lindsey Stirling

David Dobrik – David Dobrik
Elle Mills – ElleOfTheMills
Emma Chamberlain – emma chamberlain
Marc Schneider, Alex “Sedge” Sedgwick, BanditRants – The Game Theorists
Steve Grubel – Escape the Night: Season 4

Visual and Special Effects
Aaron Benitez – Aaron’s Animals
Caleb Natale – Caleb Natale
Jody Steel – Jody Steel
Kevin Parry – Kevin Parry
Martin R. – Buttered Side Down

Alex Ernst – Alex Ernst
Jae Richards, Trey Richards – 4YE Comedy
Kyle Exum – Kyle Exum
Nice Peter, EpicLLOYD, Zach Sherwin – Epic Rap Battles of History
Thomas Sanders, Joan S., Adri White, Quil Cauchon, AJ Hentges – Thomas Sanders


Company or Brand
Ellen & Cheerios – DiversiTEA with Naomi Wadler
WWE – Connor’s Cure – Children’s Hospital of Pittsburgh
Zillow – Finding Home in America • ATTN:

21 Savage – Leading by Example Foundation and Get Schooled
King Bach – RuJohn Foundation
Markiplier – My Friend’s Place

Nonprofit or NGO
It Gets Better Project
St. Jude Children’s Research Hospital – St. Jude PLAY LIVE

Winners previously announced

Brand Engagement
Winner: Chipotle + David Dobrik – Chipotle • Collab
#FindMyiD – Clinique
Barbie – Mattel Digital Engagement Group
David Dobrik x SeatGeek: Becoming a Member of the VlogSquad – SeatGeek
Peace Props – Peace Tea

Branded Content: Series
Winner: The Purple Boys – Purple • Tim and Eric
Cold As Balls – Old Spice
Road to Wizdom – AARP • Washington Wizards
Science of Mortal Kombat – Mortal Kombat • Because Science
Will It Clog? – Liquid-Plumr • VAT19

Branded Content: Video
Winner: Snoop Dogg x NikkieTutorials – Marc Jacobs Beauty
Jurassic World as a Chain Reaction Machine – Jurassic World • WatchMojo
Michelle Khare: Challenge Accepted: I Tried Marine Bootcamp – United States Marine Corps
Rabbit Hole – HTC Vive • FaZe Clan
The Try Guys Try 13 Future Technologies At Google – Google I/O

Emerging Platform
Winner: Jimmy Fallon ‘Tell Me A Joke’ – Amazon Alexa
#findyourmagic – The House with a Clock in Its Walls
Smule Duet with Natasha Bedingfield – MTV’s The Hills: New Beginnings
Tasty x eko – Walmart • BuzzFeed
WrestleMania Kickoff – WWE

Influencer Campaign
Winner: #MyTruth #MyCalvins – Calvin Klein
Chipotle + David Dobrik – Chipotle
David Dobrik x SeatGeek: Becoming a Member of the VlogSquad – SeatGeek
Look, there’s no reason not to use Honey – Honey
Ryan’s World x Colgate – Colgate • Ryan ToysReview

Social Good Campaign
Winner: Teens React to Texting and Driving (Distracted Driving) – AT&T It Can Wait • FBE
Because of You – Ad Council • Brat
Finding Home in America – Zillow • ATTN:
Generation Good – Cheerios • Ellen Digital Network
Let’s Talk About Turbans (Gasp!) – We Are Sikhs • Funny Or Die

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LYON, France  —  Leading Italian restoration company L’Immagine Ritrovata’s acquisition of renowned film lab Eclair Cinéma, announced last month, is expected to be approved by the French Commercial Court of Nanterre at the end of November or beginning of December, according to a source familiar with the deal. L’Immagine Ritrovata’s French subsidiary, L’Image Retrouvée, last […] | 10/16/19
"About his discussions with a frog..." Stage Russia has debuted an official trailer for a documentary titled Rezo, a film about the famous Georgian writer, artist and puppeteer Rezo Gabriadze. Rezo is best known as the screenwriter of the iconic Soviet movies Mimino and Kin-dza-dza. He has been awarded the title of Commander of the Order of Arts and Literature in France, and New Yorker recognized his Stalingrad as one the best theatrical performances of 2010. His sculptures adorn the streets of Saint Petersburg and Odessa. Timur Bekmambetov also produced the film, and says about it: "Rezo has become family for me. This movie is my homage to a senior colleague and a sign of the deepest recognition of his identity, talent and incredible charm. There is no room for indifference in his stories. They cut directly to the heart." Half of this film is drawn by Rezo himself, a mix of classic doc storytelling & animation. I will say ...

Feminist mystery “Dilili in Paris,” a new feature-length enterprise from French animation legend Michel Ocelot (“Kirikou and the Sorceress,” “Azur & Asmar”) spotlights the prominence of noxious ideologies, misogyny and racism through an occasionally dazzling, though oddly rendered, adventure set during the Belle Epoque period of the late 1800s and early 1900s in Paris.

Dilili (voiced by Prunelle Charles-Ambron in the English dub), a young biracial and bilingual Kanak immigrant from New Caledonia, a French colony in the South Pacific, snuck into a ship to reach Europe, where she now performs her tribe’s daily tasks as exotic amusement for Parisians. Speaking openly about the racially motivated discrimination she’s endured, Dilili shines as a rare heroine of color in a white world. She feels neither fully French nor Kanak, because she is either two fair or too dark depending on where she finds herself geographically.

Intrigued by her linguistic abilities, Orel (Enzo Ratsito), a local courier, befriends the petite erudite and fills her in on the recent abductions of multiple girls at the hands of a sexist sect known as the Male Masters. Its sleazy members wear nose rings and despise women who’ve attained any sort of power within French society. Naturally, the curious and socially conscious Dilili wishes to investigate in order to unclog the ideological sewer that has enabled these culprits.

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Didactic in its tonal approach and narrative construction, Ocelot’s latest gives the impression of being an introductory installment in a property that could yield its own television series aimed at young audiences looking for an entertaining way to learn about France’s historical figures. Elegantly greeting anyone with whom she comes in contact, Dilili becomes acquainted with the likes of Marie Curie, Marcel Proust, Claude Debussy, Pierre-Auguste Renoir, and even Gustave Eiffel. While charming and trivia-friendly, the encounters add up as if fulfilling a checklist on a lesson plan more than organically strengthening the tale.

Photorealistic backgrounds consistently stun as they clash with the more low-res CG characters, which emulate designs from early 21st century video games rather than fully accomplished animated characters for a production made this decade. Instead of being translated into more graphic or cartoonish incarnations, landmarks, buildings, and other architectural gems retain their real-life textures and lighting, as do all other elements of the production design. At first sight, their live-action look bewilders the eyes.

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Stylistically, the visual divide between the human figures and their environments makes for a striking contrast. However, once movement comes into play, the precarious confection of the characters is unavoidably noticeable. Instances that surpass these ill-conceived characteristics exist, such as a blue-hued segment featuring singer Emma Calvé performing on a swan boat while inside a palatial structure built on water, or when Paris’ most iconic tower takes the foreground for a climactic action sequence.

As Dilili and the supporters she’s accumulated along her Jules Verne-inspired ordeal inch closer to resolving the mystery of the missing girls, darkness creeps into the plot once it’s revealed that the wicked group they are fighting resembles terrorist organizations like ISIS or the Taliban in the dehumanizing tactics they employ to subdue captured adult women and girls. It’s in the implementation of this twist that the French pedigree of the film becomes obvious, since animated projects there (even those considered children-oriented) dare to touch on adult subjects. American viewers may raise their eyebrows to the revelation of what the kidnappers refer to as  a “four-leg” creature and to the truly disturbing, although unfortunately realistic, conversations men have about women throughout.

Patriarchal subjugation is also addressed in moments involving artists and scientists vowing never to sign their work in their husbands’ names or to allow them to take credit for their discoveries. Dilili herself isn’t shy about her affinity to write or the multiple interests that could result in a career when she grows older. Ocelot’s attempt to rewrite history as her story in this period fiction, as instructional as it is, demonstrates he has his finger on both the pulse of modern culture and the historically unresolved wrongs perpetrated by the white male establishment.

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Overly explanatory dialogue at every step of the way doesn’t help “Dilili in Paris” surpass its information-dispatching structure nor does it complement it with more necessary pathos. Stilted but commendable for its intent, the movie may function as a great conversation-starter if watched with young kids who might be receptive to new material. For fans of international animation, there are sporadic diamonds of craft, but likely not enough to impress viewers accustomed to the quality of the GKIDS catalogue.

Ocelot works independently, and in today’s rapidly changing and saturated animation landscape. that could mean less resources for ventures like this. Still, finding a space within the educational market as an art-house audiovisual tool for elementary history classes could very possibly be “Dilili’s” ultimate destiny, and that’s truly where it’s most needed.

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At long last, Netflix has set a date for “Queer Eye: We’re in Japan!”

The four-episode special season will premiere on Nov. 1. Japanese model and actress Kiko Mizuhara will be featured as the Fab Five’s guide through Tokyo — plus, comedian Naomi Watanabe will make a special appearance.

Food & wine expert Antoni Porowski, interior designer Bobby Berk, grooming guru Jonathan Van Ness, culture expert Karamo Brown, and fashion specialist Tan France “will bring their expertise to Tokyo to make-better four heroes while experiencing Japanese cuisine, fashion, design, grooming and culture firsthand,” according to Netflix.

Watch the trailer below right now:

????? Tokyo!!! Our special season, Queer Eye: We’re in Japan! is coming to Netflix November 1!  CAN. YOU. BELIEVE. ????????????????

— Queer Eye (@QueerEye) September 5, 2019

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Season 4 of “Queer Eye” premiered on Netflix July 19, and features Van Ness paying a visit to his old high school in Quincy, Illinois, where he gave one of his former teachers a makeover. Aside from the Illinois episode, the rest of the season took place in the Kansas City, Missouri area, where the fab five help out a whole new group of people.

Season 5 was announced in June and will be set in Philadelphia, Pennsylvania when it premieres in 2020.

“Queer Eye” is executive produced by David Collins, Michael Williams and Rob Eric for Scout Productions. Jennifer Lane serves as showrunner and executive producer, while David George, Adam Sher, David Eilenberg and Jordana Hochman serve as executive producers for ITV Entertainment.

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There aren’t a lot of things Hollywood loves more in a film than the retelling of true-to-life events or the on-screen portrayal of the real life of a complicated or inspiring person. For proof, look no further than what the Academy of Motion Picture Arts and Sciences awards each year: In the last 10 years of the Academy Awards, seven times the coveted award for best actor has gone to someone portraying a real person, including last year when Rami Malek won for “Bohemian Rhapsody.”

Here’s a look at some of the most-anticipated biopics and films based on real events coming this fall, featuring some of the biggest actors in Hollywood — Meryl Streep, Charlize Theron, Tom Hanks and Robert De Niro, et al — and from directors such as Steven Soderburg and Martin Scorsese.

“Hustlers” (Sept. 13): STX Entertainment’s glitzy Robin Hood of strippers (of sorts) film, which the studio picked up after it was jettisoned from Annapurna, is inspired by a viral 2016 New York Magazine article. “Hustlers” follows a crew of savvy strip club employees who band together to turn the tables on wealthy, drunk and abusive Wall Street clientele by maxing out their credit cards after they’ve passed out. The film stars Jennifer Lopez, Constance Wu, Cardi B, Lizzo, Keke Palmer, Lili Reinhart and Julia Stiles.

“Judy” (Sept. 27): Renee Zellweger takes the stage as the iconic Judy Garland in this film set in 1968 when “The Wizard of Oz” star arrived in London to perform in a sell-out run of “The Talk of the Town.” The film follows Garland as she prepares for the show, battles with management, charms musicians and reminisces with friends and adoring fans. Finn Wittrock, Jessie Buckley and Michael Gambon also star.

“The Laundromat” (Sept. 27): “The Laundromat” is Steven Soderbergh’s latest film and flaunts a goulash of actors including Meryl Streep, Gary Oldman, Antonio Banderas, Sharon Stone, Jeffrey Wright, Melissa Rauch, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore, Rosalind Chao and James Cromwell, et al. “The Laundromat” is Soderbergh’s screwball comedy about  the Panama Papers, a massive conspiracy of the uber-wealthy that involved money laundering, bribery, extortion. The film is based on Jake Bernstein’s book, “Secrecy World: Inside the Panama Papers Investigation of Illicit Money Networks and the Global Elite.”

“The Current War” (Oct. 4): The Benedict Cumberbatch and Michael Shannon-led historical drama languished in limbo for nearly two years following The Weinstein Co.’s bankruptcy, but it was bought by 101 Studios in April and is finally seeing the light of day after having premiered at the 2017 Toronto International Film Festival. “The Current War” tells the story of the cutthroat competition between Thomas Edison (Cumberbatch) and George Westinghouse (Shannon) over whose electrical system would power the new century. Nicholas Hoult also stars as Nikola Tesla.

“Lucy in the Sky” (Oct. 4): “Fargo” and “Legion” creator Noah Hawley directed Natalie Portman in “Lucy in the Sky,” loosely based on astronaut Lisa Nowak who, in the film has a hard time readjusting following her return from space. Nowak, who was romantically involved with fellow astronaut William Oefelein flew aboard Space Shuttle Discovery in July 2006. The following year she was charged with the attempted kidnapping of U.S. Air Force Cpt. Colleen Shipman, who also had an affair with Oefelein. Nowak ultimately pled guilty to lesser charges and was sentenced to a year probation. “Lucy in the Sky” also stars Jon Hamm, Zazie Beetz and Dan Stevens.

“Dolemite is my Name” (Oct. 25): Eddie Murphy returns to the screen after a three year hiatus to play a blaxploitation legend — his name is Dolemite. Actually, his name is Rudy Ray Moore. Dolemite is the alter-ego Moore creates after struggling to break into the entertainment industry, in order to star in blaxploitation films. Moore would go on to star in three films as Dolemite, including “Dolemite” from 1975, followed by “The Human Tornado” and “The Return of Dolemite.” The Netflix  film also stars Keegan-Michael Key, Mike Epps, Wesley Snipes, Craig Robinson, Tituss Burgess and Da’Vine Joy Randolph.

“The Irishman” (Nov. 1): Martin Scorsese reunites Robert De Niro and Al Pacino in what is one of the fall’s most-anticipated films — biopic or otherwise. “The Irishman,” which uses CG to de-age the actors, is a decade-spanning saga of organized crime in post-WWII America that covers Jimmy Hoffa’s (Pacino) rise as the leader of the Teamsters, and Frank Sheeran’s (De Niro) participation in hits for the Bufalino crime family as well as the assassination of John F. Kennedy. Harvey Keitel, Ray Romano, Bobby Cannavale, Anna Paquin, Stephen Graham, Stephanie Kurtzuba, Jack Huston, Kathrine Narducci and Jesse Plemons also star in the Netflix film.

“Harriet” (Nov. 1): Cynthia Erivo, who had a breakout 2018 with films “Widows” and “Bad Times at the El Royale,” gets a star turn as American abolitionist, activist and icon Harriet Tubman. The film follows the freedom fighter on her escape from slavery, as well as during her subsequent missions to free dozens of slaves in the South during a time of extreme adversity ahead of the Civil War.

“The King” (Nov. 1): Timothée Chalamet follows in the footsteps of Shakespearean greats Laurence Olivier and Kenneth Branagh, taking on the role of Henry V in Netflix’s “The King.” The historical drama is an adaptation of William Shakespeare’s play about the 15th-century monarch. It follows the young king navigates the palace politics, chaos and war his father left behind in death. Chalamet is backed by a great cast that includes Joel Edgerton, Sean Harris, Lily-Rose Depp, Robert Pattinson and Ben Mendelsohn.

“Honey Boy” (Nov. 8): “Honey Boy,” written by Shia LaBeouf, is a raw and cathartic telling of the actor’s childhood growing up with an abusive and alcoholic father, played by LaBeouf. LaBeouf wrote the screenplay while in rehab and reconciling with his father and confronting his mental health. Noah Jupe plays what is a proxy for young Shia, named Otis, and Lucas Hedges plays him as an adult.

“Ford v Ferrari” (Nov. 15): In a film that might as well be called “We Want an Oscar,” Matt Damon stars as visionary car designer Carroll Shelby along with Christian Bale as the fearless British-born driver Kevin Miles. The film tells the true story of the two men as they build a revolutionary race car for Ford Motor Company and take on Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

“A Beautiful Day in the Neighborhood” (Nov. 22): Tom Hanks plays the indelible Fred Rogers. Nothing else need be said.

“Bombshell” (Dec. 20): “Bombshell,” another film picked up by a studio after Annapurna let it go, tells the story of the Fox News sexual harassment scandal from the point of view of the women who took on the toxic male culture of Fox News, which ultimately led to the downfall of former Fox News head Roger Ailes. Charlize Theron stars, in a striking resemblance to Megyn Kelly, alongside Nicole Kidman and Margot Robbie. “Bombshell” was directed by Jay Roach and written by “The Big Short” scribe Charles Randolph

“Just Mercy” (Dec. 25): Michael B. Jordan stars as real-life author, activist and Civil Rights defense lawyer Bryan Stevenson in this emotional court room drama as he recounts his experiences and the details of the case of wrongly convicted death row inmate Walter McMillian (Jamie Foxx) whom he fights to set free. The film, which also stars Brie Larson, is directed by “Short Term 12” filmmaker Destin Cretton.

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The world premieres of James Mangold’s “Ford v Ferrari,” the Safdie brothers’ “Uncut Gems,” Edward Norton’s “Motherless Brooklyn,” Tom Harper’s “The Aeronauts,” Kelly Reichardt’s “First Cow” and Rupert Goold’s “Judy” will highlight the lineup of the 2019 Telluride Film Festival. The festival announced its slate of films on Thursday, one day before the three-day event will kick off in the Colorado mountain town.

Stars headed to the Colorado mountain town should include Matt Damon and Christian Bale for the auto-racing drama “Ford v Ferrari,” Adam Sandler for “Uncut Gems,” Eddie Redmayne and Felicity Jones for the period piece “The Aeronauts” and Renee Zellweger for the Judy Garland story “Judy.”

Special tributes and Silver Medallion Awards will be presented to Zellweger, Adam Driver and director Philip Kaufman.

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Portions of Ken Burns’ upcoming documentary series, “Country Music,” will also be screened in Telluride, as will Agnes Varda’s final film, “Agnes by Varda,” Davis Guggenheim’s Bill Gates documentary “Inside Bill’s Brain” and Trey Edward Shults’ “Waves.”

The three short films will include “Lost and Found” and “Into the Fire,” both by Orlando von Einsiedel, the Oscar-winning director of the short “The White Helmets.”

The festival, which selects a carefully-curated group of about two dozen films, has also opted to showcase a number of films from this year’s Cannes Film Festival, including Pedro Almodovar’s “Pain and Glory,” Celine Sciamma’s “Portrait of a Lady on Fire,” Terrence Malick’s “A Hidden Life,” Kantemir Balagov’s “Beanpole” and Bong Joon Ho’s Palme d’Or winner, “Parasite.”

Noah Baumbach’s “Marriage Story,” Fernando Meirelles’ “The Two Popes” and Lauren Greenfield’s “The Kingmaker” are among the films that will go to Telluride after premiering at the Venice Film Festival. “Marriage Story” is the only film to be playing all four of the fall festivals – Venice, Telluride, Toronto and New York – while “The Kingmaker” is the only documentary to be screening at Venice, Telluride and Toronto.

Telluride typically showcases a group of films that include many Oscar nominees-to-be, though its eight-year streak of screening the eventual Best Picture winner came to an end last year when “Green Book” skipped Telluride, premiered in Toronto and went on to win the top prize. Of last year’s Telluride selections, only two, “Roma” and “The Favourite,” would receive best-pic nominations, though the 2018 selection also included Oscar winners “Free Solo” (documentary feature) and “First Man” (visual effects) and nominees “Cold War,” “Shoplifters” and “Can You Ever Forgive Me?”

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Telluride screenings begin on Friday and end on Monday.

The lineup:

· THE AERONAUTS (d. Tom Harper, U.S. – U.K., 2019)
· THE ASSISTANT (d. Kitty Green, U.S., 2019)
· THE AUSTRALIAN DREAM (d. Daniel Gordon, Australia, 2019)
· BEANPOLE (Kantemir Balagov, Russia, 2019)
· THE CLIMB (d. Michael Angelo Covino, U.S., 2019)
· COUP 53 (d. Taghi Amirani, U.K., 2019)
· DIEGO MARADONA (d. Asif Kapadia, U.K., 2019)
· FAMILY ROMANCE, LLC (d. Werner Herzog, U.S. – Japan, 2019)
· FIRST COW (d. Kelly Reichardt, U.S., 2019)
· FORD v FERRARI (d. James Mangold, U.S., 2019)
· JUDY (d. Rupert Goold, U.K.-U.S., 2019)
· A HIDDEN LIFE (d. Terrence Malick, U.S. – Germany, 2019)
· THE HUMAN FACTOR (d. Dror Moreh, U.K., 2019)
· INSIDE BILL’S BRAIN (d. Davis Guggenheim, U.S., 2019)
· THE KINGMAKER (Lauren Greenfield, U.S., 2019)
· LYREBIRD (d. Dan Friedkin, U.S., 2019)
· MARRIAGE STORY (d. Noah Baumbach, U.S., 2019)
· MOTHERLESS BROOKLYN (d. Edward Norton, U.S., 2019)
· OLIVER SACKS: HIS OWN LIFE (d. Ric Burns, U.S., 2019)
· PAIN AND GLORY (d. Pedro Almodóvar, Spain, 2019)
· PARASITE (d. Bong Joon-ho, South Korea, 2019)
· PORTRAIT OF A LADY ON FIRE (d. Céline Sciamma, France, 2019)
· THE REPORT (d. Scott Z. Burns, U.S., 2019)
· TELL ME WHO I AM (d. Ed Perkins, U.K., 2019)
· THOSE WHO REMAINED (d. Barnabás Toth, Hungary, 2019)
· THE TWO POPES (d. Fernando Meirelles, U.K., 2019)
· UNCUT GEMS (d. Josh Safdie, Benny Safdie, U.S., 2019)
· VARDA BY AGNÈS (d. Agnès Varda, France, 2019)
· VERDICT (d. Raymond Ribay Gutierrez, Philippines, 2019)
· WAVES (d. Trey Edward Schultz, U.S., 2019)

Additional programs:
· COUNTRY MUSIC (d. Ken Burns, U.S., 2019)

Short films:
· FIRE IN PARADISE (d. Zack Canepari, Drea Cooper, U.S., 2019)
· INTO THE FIRE (d. Orlando von Einsiedel, Iraq-U.K., 2019)
· LOST AND FOUND (d. Orlando von Einsiedel, Bangladesh-U.K., 2019).

Selections from guest director Pico Iyer:
· LATE AUTUMN (d. Yasujir? Ozu, Japan, 1960)
· THE MAKIOKA SISTERS (d. Kon Ichikawa, Japan, 1983)
· MR. AND MRS. IYER (d. Aparna Sen, India, 2002)
· UNDER THE SUN (d. Vitaly Mansky, Czech Republic-Russia-Germany-Latvia-North Korea, 2015)
· WHEN A WOMAN ASCENDS THE STAIRS (d. Mikio Naruse, Japan, 1960)

Additional film revivals:
· THE WIND (d. Victor Sjöström, U.S, 1928)
· THE PHANTOM CARRIAGE (d. Victor Sjöström, Sweden, 1921).

· 63 UP (d. Michael Apted, U.K., 2019)
· BILLIE (d. James Erskine, U.K., 2019)
· CHULAS FRONTERAS (d. Les Blank, U.S., 1976)
· THE GIFT: THE JOURNEY OF JOHNNY CASH (d. Thom Zimny, U.S., 2019)
· LINDA RONSTADT: THE SOUND OF MY VOICE (d. Rob Epstein, Jeffrey Friedman, U.S., 2019)
· SOROS (d. Jesse Dylan, U.S., 2019)
· UNCLE YANCO (d. Agnès Varda, France-U.S., 1967) + BLACK PANTHERS (d. Agnès Varda, France-U.S., 1968)

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The culture of France and of the French people has been shaped by geography, by profound historical events, and by foreign and internal forces and groups. France, and in particular Paris, has played an important role as a center of high culture and of decorative arts since the seventeenth century, first in Europe, and from the nineteenth century on, world wide. From the late nineteenth century, France has also played an important role in cinema, fashion and cuisine. The importance of French culture has waxed and waned over the centuries, depending on its economic, political and military importance. French culture today is marked both by great regional and socioeconomic differences and by strong unifying tendencies.

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